In a recent thread called “Contrast ratio: Skyfall vs Sicario” he and “simon m” have this exchange: He responds to even the most squeamishly artless questions (“Do you like documentaries?”) in just a few hours-and kindly. Deakins says he created the site partially to ease his ability to answer fan mail, but it also seems to demystify an art form that, despite its direct interface with the public’s eyeballs, isn’t written about or understood all that much. And I do mean artist-there’s little hint of a Hollywood persona at work. I’m not aware of anywhere else a fan or student can peer inside the craft of a transcendent artist with such lucidity. Part of what makes Looking at Light such a weird and wonderful Internet forum is that Deakins is so freely and readily available there. When Robert Elswit accepted the American Society of Cinematographers Award for There Will Be Blood, he joked that the ASC should establish a separate category for “films shot by Roger Deakins.” He’s been nominated for thirteen Academy Awards (a tie for the most by a DP), and may well be the most in-demand cinematographer alive the actor Josh Brolin apparently agreed to do Sicario only after hearing Deakins was in, the sort of nod you mainly hear about auteur directors. He was the DP for Shawshank Redemption, every Coen brothers’ movie since Barton Fink, more than a few great directors’ beacon achievements (Ron Howard’s A Beautiful Mind, Sam Mendes’s Skyfall), and at least a handful of movies that are, to my eye, more visually striking than they are coherent ( House of Sand and Fog, Kundun, The Assassination of Jesse James by the Coward Robert Ford). His IMDB page reads like a list of reliably rewatchable movies from the late-night nineties and aughts. Looking at Light can be numbly dense with jargon, but the stories and curio knit together into a narrative of Deakins’s career, which now spans an epochal forty years and nearly all genres. He likened the return to film to riding a bike-except that, as Deakins later admitted, he doesn’t know how to ride a bike. Lately, his posts have been explanatory notes about Denis Villeneuve’s forthcoming Blade Runner 2049, which is due out in October, and detoxifying rants about Hail Caesar!, Deakins’s twelfth movie with the Coen brothers and the first he’d shot on film in many years. I came across this anecdote a few years ago while reading Deakins’s blog, Looking at Light, where practically every day, and especially when he’s between projects, the sixty-seven-year-old writes what must be among the most admiring and detailed prose about lampshades and light bulbs, fields questions about his own movies, and gives advice to readers about their own low-budget projects. “My expectations were shattered,” Deakins later wrote, “when Conrad pronounced the photochemical process ‘antiquated.’ ” Hall praised the possibilities of digital, telling Deakins he was happy to indulge any “technique that might have helped him develop as a visual storyteller.” That was Hall’s guiding mantra, and one the younger artist soon took up: “Story! Story! Story!” The timing found Deakins visiting the older Hall-a three-time Academy Award winner and sort of tribal elder to directors of photography-as the industry-wide shift toward digital cameras was being met by a renewed nostalgia for film, and Deakins was excited to share how he’d recently remodeled his LA home to include a darkroom. Sometime in the late nineties, the cinematographer Roger Deakins took a kind of pilgrimage to visit his friend and mentor Conrad “Connie” Hall, who was living in semiretirement on a tiny island off Tahiti.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |