blade runner 2049 roger deakins interview

Most of the prison sequences were shot with artificial lighting. The compliment mentioned that the jail sequences were beautifully shot without any artificial lighting and natural light did its trick. How his work is viewed by the world can be gauged by the incident of when a fellow cinematographer once complimented him for his brilliant work in The Shawshank Redemption. The poster for The Shawshank Redemption and The Big Lebowski/Image from Twitter. In 20 he was nominated again for films of Coen Brothers, the films being O Brother, where Art Thou? and The Man Who Wasn’t There, shot entirely in B/W but both were eventually trounced by Crouching Tiger Hidden Dragon and Peter Jackson’s Lord of The Rings respectively. That also was an unfortunate year for Deakins as Titanic, with its 14 nominations, ensured that it sunk hopes of Deakins once again. His third nomination was for Kundun which also remains his only association with Martin Scorsese. His second nomination was in 1997 for Fargo, but that year too he came home empty handed after John Seale won the trophy for his sweeping camerawork for The English Patient. The long and the unfulfilled journey took shape and started in 1994 with the much loved Frank Darabont’s The Shawshank Redemption.ĭuring the 67th Academy Awards, the Academy found John Toll’s camera work in Legends of The Fall superior to Deakins’s work. The five Oscar nominations he has managed for Coen Brothers’ films is a testament. Be it the verite techniques of Barton Fink, the playful shots of The Big Lebowski, or the unimaginable textures that snow could offer in Fargo only helped seal the reputation of Roger Deakins. The unflinching faith that Coen Brothers have shown in Deakins, spanning over 27 years with more than 10 films and still going strong, speaks volumes about the work of this Academy-ignored genius.

Blade runner 2049 roger deakins interview