The film, currently in theaters, returns Deakins to the coastal setting that he knew growing up in the English county of Devon and that deeply influenced him as a cinematographer and occasional still photographer. “I try to find a bit of humor,” he said in a recent interview from outside London.ĭeakins' latest is Sam Mendes' “Empire of Light,” starring Olivia Colman and Michael Ward as workers at a 1980s shoreline cinema in the south of England. Something about how seamlessly the images connect. It's not easy to pinpoint what makes a film's cinematography identifiably Deakins' work and yet it's obvious. “I don’t think my eye has changed much at all.”įor decades, Deakins' eye has been one of the keenest in movies. “I would take the same photograph now with the same situation, the same frame, the same lens,” Deakins says, chuckling. He's been knighted.īut if given the chance, he'd take that first black-and-white shot exactly the same way. He's photographed “Fargo,” “Kundun" and “The Assassination of Jesse James by the Coward Robert Ford.” He's shot “No Country for Old Men," “The Man Who Wasn't There” and “Skyfall.” He's been nominated for 15 Oscars and won two. ![]() A sign reads: “Keep it to yourself.”ĭeakins has taken countless images since that first snap. NEW YORK – The first photograph Roger Deakins ever took, in 1969 Bournemouth, England, shows a man and a woman quietly eating lunch on a bench outside a ladies room.
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