8/24/2023 0 Comments Roger deakins hail caesar![]() “There are shadows here, areas in half-light over there. “The real world, the natural world that we live in just isn’t as well-lit as your typical animated world is,” he explains. The crew of DreamWorks Animation’s How To Train Your Dragon went even further, bringing Deakins aboard for some 14 months of consultation and collaboration that left him entirely comfortable with the world of CG images. Andrew Stanton called him to Pixar to give 2008’s Wall-E a cinematic look and feel, and an afternoon lecture turned into several weeks of work on the film’s opening sequence amid a ruined Earth. Everyone, including my gaffer, just looked at me like, 'What?' But it was worth taking the chance."īy this point, Deakins was an acknowledged great, and animation studios started asking for his advice as their technology permitted more and more realism. "When I saw the way that the light on the train just blew through the smoke, I decided to turn all the other lights off and just go with that. The regard is mutual: despite becoming a convert to digital shooting after 2011’s In Time, Deakins returned to shoot Hail Caesar! on film at the brothers’ request, and said he’d shoot on “a cell phone” if they asked him. ![]() “When you find somebody as brilliant as Roger is… it’s hard to imagine doing without,” Joel Coen said once, and indeed they’ve only gone elsewhere twice since, when Deakins was otherwise engaged. The brothers still storyboard their planned shots first, but they do an entirely new pass when they sit down with Deakins. The combination of meticulous, classical planning and documentary style took both to a new level. To combine those two approaches, I think that's probably what changed the way I saw things.” “They're notorious for storyboarding everything,” Deakins says. They have made eleven more films together since and Deakins has been dubbed the “third Coen” in the same way that George Martin was the “fifth Beatle”. To say the trio clicked would be an understatement. Joel and Ethan Coen had lost their regular cinematographer Barry Sonnenfeld to a directing career of his own, and needed Deakins’ help with 1991’s Barton Fink. Films shot by Deakins always look great, but he doesn’t so much impose a style on them as try to find an image that communicates the feeling in the script.ġ986’s Sid & Nancy brought Deakins Hollywood’s attention, but his early years there were unhappy and he was on the verge of quitting when he got a call from two young filmmakers. While cinematographer appointments usually go unremarked upon, Deakins’s attachment to Blade Runner 2049 was headline news, taken as quality assurance by fans – and first trailer and now the finished film suggests that they were right.Īn acclaimed name who has worked a dozen times with the Coen Brothers as well as with Sam Mendes and Martin Scorsese, Deakins carries a reputation for taste, quality and an unshowy but unfailing commitment to storytelling. He spent several weeks in a hotel room with me, and a storyboard artist, and we drew the whole movie,” said the director. “Roger came on board right from the start. There was only one man to call: Roger Deakins, the 13-time Oscar nominated Director of Photography who had become a regular collaborator of Villeneuve after working on Prisoners and Sicario. “I said, I need to provoke myself and go into the aesthetic discussions quite quickly. Director Denis Villeneuve was still finishing Arrival, but he needed to start on his sequel to Ridley Scott’s masterpiece, a film that has influenced every science-fiction movie since. It was in a hotel room in Montreal that Blade Runner 2049 first took shape. In light of Roger Deakins winning the Oscar for Best Cinematography for Blade Runner 2049, here is our interview with him from October 2017
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |