English - Director | May 24, 1949 -
If you shoot with a billion cameras, then there's no perspective. You want to use one shot at a time, so it's better to discover what that is before you shoot, rather than trying to make something in the cutting room, and then it just becomes generic.
Roger Deakins
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There's nothing worse than an ostentatious shot. Or some lighting that draws attention to itself, and you might go, 'Oh, wow, that's spectacular.' Or that spectacular shot, a big crane move, or something.
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I came up, I suppose, a fairly traditional way. I went to art college. I always wanted to be a stills photographer, really, when I was younger, and I briefly worked as a stills photographer.
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I loved movies ever since I was a kid.
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I've always been a fan of Westerns, but my favorite kind of Westerns mostly were Sam Peckinpah's Westerns, and they mainly took place in the West that was changing.
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I'd done a big movie that I wasn't happy with, and I was moving out of London when I got approached about Barton Fink, because my agent said the brothers were in London. We hit it off immediately, and suddenly I found myself on the way to America!
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I don't approach films purely in context of genre.
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I think technology has advanced so far now that there are some cameras on the market that give film a run for its money. It's all about flexibility in capturing images, and digital or film, it doesn't matter to me.
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I always had an interest in seeing people within their environments.
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I shot film with the Coen brothers on 'Hail, Caesar!' That's fine. I'm sentimental about film; I've shot film for forty years or something.
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My dad was a builder, so I didn't have any connection to the arts at all. I never really considered film as a career, but I knew I didn't want to be a builder.
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When I left art college, I was a still photographer for a year.
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