Roger Deakins: A Cinematography Master's Journey and Concerns
Renowned cinematographer Roger Deakins, celebrated for his work on films like Blade Runner 2049 and Skyfall, is grappling with how to define his craft after five decades behind the camera. With 14 Oscar nominations, two wins, and a knighthood, Deakins admits, "I've got no idea" what cinematography truly is, though he calls it "visual storytelling" in a collaborative process involving hundreds.
A Career of Visual Spectacle
Deakins's career spans from the stark deserts of No Country for Old Men to the futuristic cityscapes of Blade Runner 2049. He has captured Scorsese's dream-like Kundun, Bond's shadowy action in Skyfall, and the punk-era tragedy of Sid and Nancy. In his Santa Monica home, dressed casually, he reflects with a straightforward, unpretentious manner, often aided by his wife, James Ellis Deakins, who provides context and reins in his indiscretions.
The Craft Behind the Scenes
In his new book, Reflections: On Cinematography, co-written with James, Deakins reveals the intricacies of cinematography. He details mimicking daylight in The Shawshank Redemption using skylights, waiting for perfect weather in Fargo and 1917, and innovative techniques like pushing a camera down a bowling alley for The Big Lebowski. The book highlights his role as a light sculptor, weather watcher, and problem-solver.
Early Life and Career Path
Growing up in Torquay, Deakins faced a unhappy childhood, with a mother bedridden by multiple sclerosis. He skipped studies for fishing and film-watching, inspired by Kubrick's Dr Strangelove. After art school and documentary work in Zimbabwe and with musicians like Eric Clapton, he found his calling on the set of 1984 in his mid-30s. His circuitous route, similar to Ridley Scott's, provided life experience he values over film-school bubbles.
Collaborations and Principles
Deakins's long collaboration with the Coen brothers, starting with Barton Fink, thrives on their visual specificity. He prefers operating the camera himself, avoiding multi-camera shoots for precision, as seen with directors like Denis Villeneuve. He criticizes flashy techniques, lens flares, and excessive cuts, advocating for simplicity that immerses viewers without distraction.
Worries About Modern Filmmaking
Deakins expresses concern over Hollywood's decline, citing AI, streaming dominance, and franchise reliance on CGI. He laments the loss of character-based films like Hud, noting that digital technology allows flat shooting with post-production manipulation, diminishing the art of lighting. "Producers don't want to spend time on lighting," James adds, eroding storytelling through the frame.
Legacy and Outreach
Despite frustrations, Deakins remains active with the Team Deakins podcast and website, demystifying the industry for newcomers. He's working on a second photography book and maintains perspective, valuing passion in any work, from filmmaking to stone wall building. Reflections: On Cinematography publishes this week, offering insights into a legendary career amid changing times.
