"Argh! he exclaims, when confronted by the question: what is cinematography? Well, I started off trying to be a still photographer, someone like Don McCullin. And it's been a whole arc through cinematography. Now what is cinematography? I don't know. It's very different from still photography. But the essentials are the same. You're trying to tell a visual story. It is very much a collaboration, he continues; working with hundreds of people on films can be a wonderful experience"
"The visual storytelling he's done throughout his 50-year career has been spectacular and immense, encompassing the austere desert landscapes of No Country for Old Men to the hallucinatory urban vistas of Blade Runner 2049. He's captured the rich, dream-like imagery of Martin Scorsese's Dalai Lama biopic Kundun, the shadowy action of James Bond's Skyfall, and to go back to one of his earliest feature films the tragic romance of Sex Pistols bassist Sid Vicious and girlfriend Nancy Spungen in Sid and Nancy,"
Roger Deakins began his career aiming to be a still photographer and evolved into a cinematographer with a fifty-year trajectory. He finds cinematography hard to define, noting its differences from still photography while insisting the essentials of visual storytelling remain. He emphasizes collaboration and the involvement of hundreds of people on films. His work ranges from austere deserts to hallucinatory urban vistas and dream-like imagery across films such as No Country for Old Men, Blade Runner 2049, Kundun, Skyfall and Sid and Nancy. He has received fourteen Oscar nominations, two wins, five BAFTAs and a knighthood, and is regarded as a leading practitioner.
Read at www.theguardian.com
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