The night-time sequence in Ecoust in particular is truly jaw dropping and was an absolute treat to witness in IMAX. Roger Deakins and his cinematography was the talk of much of the 2019-20 awards season, with the tracking shots and techniques employed that made the journey of Privates Blake and Schofield look like one continuous take. Some of the shots of Javier Bardem’s Anton Chigurh help to deliver a true sense of menace, making him a memorable villain.ĭeakins’ most recent film and his fourth collaboration with Sam Mendes, 1917 is a technical marvel. With a lack of music throughout, the film’s visuals help drive the storyline, with Texas’ bleak and desolate landscape a character in itself.
This film deservedly landed Deakins his first Oscar and his fourteenth nomination.Īnother collaboration between Deakins and the Coens, No Country For Old Men won the Academy Award for Best Picture and saw Deakins competing against himself for his work on the The Assassination of Jesse James by the Coward Robert Ford. The film’s visuals perfectly accompany its performances and made this a sequel that matched its predecessor on many levels, which some would have deemed impossible prior to release. A third collaboration between Deakins and Denis Villeneuve, this has been noted as one of the best looking films of the 2010s, with the visuals front and center of discussions around the film’s merits (although far from the only aspect deserving praise). With familiar Los Angeles shots of its predecessor intact, Deakins helped amplify the look and feel of the franchise with some stunning desert shots. Deakins’ visuals help make this picture excel and formed part of the success that propelled it to $1.1 billion globally in 2012.įrom the very first trailer for the belated sequel to Ridley Scott’s neo-noir classic, fans knew that this was going to be a visual treat. Skyfall is one of the most visually delightful entries in the entire Bond franchise. Deakins excels at bringing the eerie snow-covered Minnesota landscape to life, truly making the audience feel the chill and making sure the Marge Gunderson’s surroundings form a key part of the story.Īs far as visuals in major blockbusters go, this is hard to top: from the neon-lit Shanghai fight sequence to the climatic fight sequences in the snowy Highlands.
ROGER DEAKINS SHOTS TV
One of the definitive collaborations between the Coen brothers and Deakins, this is a triumph of a film on many levels, even inspiring a hugely successful TV spin-off. We’re here to take you through 5 of his notable works that prove the merit of his new title, Sir Roger Deakins. Over the past three decades, Deakins has cemented himself as one of the marquee names in the cinematography fields, recently winning two Oscars for his work on Blade Runner 20. His work, however, is prolific, having served as DoP with many others such as Martin Scorsese, Sam Mendes and Denis Villeneuve. Lol, I really want to see a Blade Runner: 1917 now.With the news that legendary British cinematographer Roger Deakins is to receive a Knighthood, it’s an apt time to assess some of the marvelous films he has shotīeloved for his stunning and innovative style, Roger Deakins is perhaps best known for his 12 collaborations with the Coen brothers. I guess that's what I've been doing ever since. The photographs I took back then are really quite simple they're pared down in terms of what's in the frame. Looking back through these photos, I wondered if my eye had changed, and I don't think it has, really. Others are images that caught his eye as walked on a weekend, or catching the last of the light at the end of a day's filming whilst working on projects in cities such as Berlin or Budapest, on Sicario in New Mexico, Skyfall in Scotland and in England on 1917.Īrtnet has an interview with Deakins about the collection and his photography. Some of the images in this book, such as those from Rapa Nui, New Zealand and Australia, he took whilst traveling with James. Deakins: Byways.Īlthough photography has remained one of Roger's few hobbies, more often it is an excuse for him to spend hours just walking, his camera over his shoulder, with no particular purpose but to observe. Roger Deakins, who won Oscars for his work on Blade Runner: 20 1 and shot almost all of the Coen brothers' films, has published a book of his black & white photography from the last five decades: Roger A. It's no surprise that the cinematographer responsible for some of the beautifully shot films ever made is also an avid and talented photographer.
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