Roger Deakins: Craft, Career, and Industry Concerns

Roger Deakins, a highly acclaimed cinematographer known for his work with directors such as the Coen brothers and Sam Mendes, recently discussed his craft, career, and the evolving state of the film industry. Deakins, who has received 14 Oscar nominations and two wins, struggles to provide a definitive definition of cinematography, describing it as a collaborative process centered on visual storytelling.

His wife and professional partner, James Ellis Deakins, offers a clearer perspective.

Cinematography is about visually conveying the story and emotions within a frame, often without the audience consciously recognizing the camerawork's influence.

Career and Craft

Throughout his 50-year career, Deakins has contributed to a diverse range of films, including No Country for Old Men, Blade Runner 2049, Kundun, Skyfall, and Sid and Nancy. He often recounts various production challenges and the innovative solutions he devised.

For instance, he successfully mimicked daylight in The Shawshank Redemption's blacked-out factory set and meticulously adapted lighting for seamless consistency in 1917's single-take illusion. Deakins prefers precision and intentionality in filmmaking, advocating for single-camera setups and minimal manipulation in post-production, a notable contrast to many current industry trends.

"Reflections: On Cinematography"

Deakins and James have co-written a new book, Reflections: On Cinematography. This publication serves as both a memoir and a technical guide for aspiring and experienced filmmakers alike. The book highlights the cinematographer's multifaceted role as a director of camerawork, a sculptor of light, a problem solver, and a leader of the technical crew.

Industry Concerns

Deakins expresses concern about the current state of the film industry, citing a decline amidst diminished earnings, the rise of streaming, and the dominance of franchise films reliant on green screens and CGI. He believes that his naturalistic, painterly approach to cinematography is becoming increasingly rare in today's landscape. Both Deakins and James note a decrease in character-driven movies in favor of other genres.