American Cinematographer - January 2011 - 65
pher for auteur directors with substantive, character-driven scripts. “That’s a very small niche right now,” he says with a laugh. But it’s one that many cinematographers would envy, as it has led him to collaborate with filmmakers such as Joel and Ethan Coen, Sam Mendes, John Sayles, Martin Scorsese, Bob Rafelson and Norman Jewison. Of course, he is most closely identified with the Coens, America’s most idiosyncratic auteurs; he has shot 11 films for them since Barton Fink (1991), including the current release True Grit. None of this was in the crystal ball when Deakins was a young lad in Torquay, a fishing town on England’s southwest coast. Once a Victorian resort, the town didn’t offer many career options for a youth with artistic inclinations. Deakins’ father ran a construction company, and his grandfather was a fisherman. “My dad wanted me to take over his business,” Deakins recalls. “For many years,when I was working in London in the film industry, my father still thought I’d come back and take over!” Instead, Deakins took after his artistically inclined mother, an actress and amateur painter. He also took up the brush, painting realistic renderings of people and landscapes. “They were pretty depressing, actually,” he says. But they led him to still photography. “I suppose I took up still photography
ww.theasc.com w
AC file photos by François Duhamel, SMPSP; Melinda Sue Gordon, SMPSP; Frank Masi, SMPSP; Mario Tursi; Merie Wallace; Bruce Birmelin, and Michael Weinstein. Additional photos courtesy of Roger Deakins.
Opposite: Surrounded by some of his signature soft light, Roger Deakins, ASC, BSC awaits the next shot on the set of Revolutionary Road (2008). This page, top left: In the mid1970s, Deakins takes the helm while working on one of his first documentaries for British TV, about a yacht race that circumnavigated the globe. Top right: As a student at England’s National Film School, Deakins (at far left) works on The Penal Colony (1972/1973), directed by Neil Levenson (at camera). Middle: In another Penal Colony still, Deakins preps a dolly shot. Bottom: During filming of Alex Cox’s Sid and Nancy (1986), Deakins practices his punk-rock sneer while surrounded by actors (from left) Tony London, Gary Oldman and Graham FletcherCook.
January 2011
65
http://ww.theasc.com
American Cinematographer - January 2011
Table of Contents for the Digital Edition of American Cinematographer - January 2011
American Cinematographer - January 2011
Contents
Editor’s Note
President’s Desk
Short Takes: “Eye of the Storm"
Production Slate: The Tempest • All Good Things
Letting Go
Tough Love
Back to the Grid
A League of His Own
Post Focus: EFilm at Universal• HPA Awards
Filmmakers’ Forum: Jody Lee Lipes
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Michel Hugo, ASC
Clubhouse News
ASC Close-Up: Jack Couffer
American Cinematographer - January 2011 - American Cinematographer - January 2011
American Cinematographer - January 2011 - Cover2
American Cinematographer - January 2011 - 1
American Cinematographer - January 2011 - 2
American Cinematographer - January 2011 - Contents
American Cinematographer - January 2011 - 4
American Cinematographer - January 2011 - 5
American Cinematographer - January 2011 - 6
American Cinematographer - January 2011 - 7
American Cinematographer - January 2011 - Editor’s Note
American Cinematographer - January 2011 - 9
American Cinematographer - January 2011 - President’s Desk
American Cinematographer - January 2011 - 11
American Cinematographer - January 2011 - Short Takes: “Eye of the Storm"
American Cinematographer - January 2011 - 13
American Cinematographer - January 2011 - 14
American Cinematographer - January 2011 - 15
American Cinematographer - January 2011 - 16
American Cinematographer - January 2011 - 17
American Cinematographer - January 2011 - Production Slate: The Tempest • All Good Things
American Cinematographer - January 2011 - 19
American Cinematographer - January 2011 - 20
American Cinematographer - January 2011 - 21
American Cinematographer - January 2011 - 22
American Cinematographer - January 2011 - 23
American Cinematographer - January 2011 - 24
American Cinematographer - January 2011 - 25
American Cinematographer - January 2011 - 26
American Cinematographer - January 2011 - 27
American Cinematographer - January 2011 - 28
American Cinematographer - January 2011 - 29
American Cinematographer - January 2011 - Letting Go
American Cinematographer - January 2011 - 31
American Cinematographer - January 2011 - 32
American Cinematographer - January 2011 - 33
American Cinematographer - January 2011 - 34
American Cinematographer - January 2011 - 35
American Cinematographer - January 2011 - 36
American Cinematographer - January 2011 - 37
American Cinematographer - January 2011 - 38
American Cinematographer - January 2011 - 39
American Cinematographer - January 2011 - 40
American Cinematographer - January 2011 - 41
American Cinematographer - January 2011 - Tough Love
American Cinematographer - January 2011 - 43
American Cinematographer - January 2011 - 44
American Cinematographer - January 2011 - 45
American Cinematographer - January 2011 - 46
American Cinematographer - January 2011 - 47
American Cinematographer - January 2011 - 48
American Cinematographer - January 2011 - 49
American Cinematographer - January 2011 - 50
American Cinematographer - January 2011 - 51
American Cinematographer - January 2011 - Back to the Grid
American Cinematographer - January 2011 - 53
American Cinematographer - January 2011 - 54
American Cinematographer - January 2011 - 55
American Cinematographer - January 2011 - 56
American Cinematographer - January 2011 - 57
American Cinematographer - January 2011 - 58
American Cinematographer - January 2011 - 59
American Cinematographer - January 2011 - 60
American Cinematographer - January 2011 - 61
American Cinematographer - January 2011 - 62
American Cinematographer - January 2011 - 63
American Cinematographer - January 2011 - A League of His Own
American Cinematographer - January 2011 - 65
American Cinematographer - January 2011 - 66
American Cinematographer - January 2011 - 67
American Cinematographer - January 2011 - 68
American Cinematographer - January 2011 - 69
American Cinematographer - January 2011 - 70
American Cinematographer - January 2011 - 71
American Cinematographer - January 2011 - 72
American Cinematographer - January 2011 - 73
American Cinematographer - January 2011 - 74
American Cinematographer - January 2011 - 75
American Cinematographer - January 2011 - 76
American Cinematographer - January 2011 - 77
American Cinematographer - January 2011 - Post Focus: EFilm at Universal• HPA Awards
American Cinematographer - January 2011 - 79
American Cinematographer - January 2011 - 80
American Cinematographer - January 2011 - 81
American Cinematographer - January 2011 - Filmmakers’ Forum: Jody Lee Lipes
American Cinematographer - January 2011 - 83
American Cinematographer - January 2011 - New Products & Services
American Cinematographer - January 2011 - 85
American Cinematographer - January 2011 - 86
American Cinematographer - January 2011 - 87
American Cinematographer - January 2011 - International Marketplace
American Cinematographer - January 2011 - Classified Ads
American Cinematographer - January 2011 - Ad Index
American Cinematographer - January 2011 - 91
American Cinematographer - January 2011 - In Memoriam: Michel Hugo, ASC
American Cinematographer - January 2011 - 93
American Cinematographer - January 2011 - Clubhouse News
American Cinematographer - January 2011 - 95
American Cinematographer - January 2011 - ASC Close-Up: Jack Couffer
American Cinematographer - January 2011 - Cover3
American Cinematographer - January 2011 - Cover4
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