American Cinematographer - January 2011 - 66

◗

A League of His Own
just wandering around towns and seaside communities taking pictures.” He even pinched the school’s darkroom key to make a copy for himself. Curiously, photography itself was not part of Bath’s curriculum. “It was just a way of recording images to be used in graphic design— if you were designing book covers, for instance,” says Deakins. When the academy brought in professional photographers as guest teachers, Deakins soaked up the lessons, particularly those imparted by Roger Mayne. “He was one of the first photographers to go out in the street and photograph the lives of people in London,” says Deakins. “He was quite a big influence on the way I started to see things.” After college, Deakins wasn’t sure what to do. A friend told him about a new school opening up in London called the National Film School. “I thought that really made sense, because my photography was tending towards documentary, so I applied along with my friend,” he says. Neither of them got in. Deakins made an appointment with the school’s headmaster, Colin Young, to find out why. He recalls, “On the wall behind Colin’s deskwas this photograph of a horse and car. It was blurred because it was a time exposure. Colin said, ‘Well,your photographs are not really very filmic.’ He pointed to the photo behind him and said, ‘ That’s filmic.’ I said, ‘No, that’s a blurred photograph.’” Deakins laughs at his youthful chutzpah. “I disputed his idea of what was filmic and what wasn’t.” Because it was the school’s first year, it was seeking an entry class of 25 students who already had some filmmaking experience and could self-start in an unstructured educational environment. So, with the implicit promise that he would be admitted the next year if he acquired some practical experience, Deakins looked for a job. The Bath Academy principal told him about an arts center that wanted to create a photographic record of rural life in North Devon. For the next year, Deakins wandered around the country-

Top: Director John Sayles works out a shot with Deakins on location for Passion Fish (1992). Right: The cinematographer at work on Michael Apted’s Thunderheart (1992).

because I always had an interest in [seeing] people within their environments.” Deakins had the opportunity to soak up art-house movies through the Torquay film society. He and his brother trudged miles to watch everything from Italian neorealist films to Peter Watkins’ faux vérité documentaries. Seeing a woman faint during TheWar Game , Watkins’ vivid scenario about a nuclear explosion in London, deeply impressed Deakins, but the idea of making a career out of film hadn’t yet coalesced in his mind.
66 January 2011

Intending to become a painter, he enrolled in the Bath Academy of Art, but found himself assigned to the graphic-design department. “I guess they didn’t like my naturalistic paintings,” he says. “Abstract was in, and I didn’t do much of that.” But there was a small film department. “I wanted to get involved in that, but only two or three students were allowed to play with film cameras, and I didn’t get the chance.” Instead, he discovered still photography — in a big way. “I used to spend nights in a darkroom printing, then days out,
American Cinematographer



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 TempestAll 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 TempestAll 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
https://www.nxtbook.com/nxtbooks/ac/ac1218_v2
https://www.nxtbook.com/nxtbooks/ac/ac1118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1018_v2
https://www.nxtbook.com/nxtbooks/ac/ac0918_v2
https://www.nxtbook.com/nxtbooks/ac/ac0818_v2
https://www.nxtbook.com/nxtbooks/ac/ac0718_v2
https://www.nxtbook.com/nxtbooks/ac/ac0618_v2
https://www.nxtbook.com/nxtbooks/ac/ac0518_v2
https://www.nxtbook.com/nxtbooks/ac/ac0418_v2
https://www.nxtbook.com/nxtbooks/ac/ac0318_v2
https://www.nxtbook.com/nxtbooks/ac/ac0218_v2
https://www.nxtbook.com/nxtbooks/ac/ac0118_v2
https://www.nxtbook.com/nxtbooks/ac/ac1217_v2
https://www.nxtbook.com/nxtbooks/ac/ac1117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1017_v2
https://www.nxtbook.com/nxtbooks/ac/ac0917_v2
https://www.nxtbook.com/nxtbooks/ac/ac0817_v2
https://www.nxtbook.com/nxtbooks/ac/ac0717_v2
https://www.nxtbook.com/nxtbooks/ac/ac0617_v2
https://www.nxtbook.com/nxtbooks/ac/ac0517_v2
https://www.nxtbook.com/nxtbooks/ac/ac0417_v2
https://www.nxtbook.com/nxtbooks/ac/ac0317_v2
https://www.nxtbook.com/nxtbooks/ac/ac0217_v2
https://www.nxtbook.com/nxtbooks/ac/ac0117_v2
https://www.nxtbook.com/nxtbooks/ac/ac1216_v2
https://www.nxtbook.com/nxtbooks/ac/ac1116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1016_v2
https://www.nxtbook.com/nxtbooks/ac/ac0916_v2
https://www.nxtbook.com/nxtbooks/ac/ac0816_v2
https://www.nxtbook.com/nxtbooks/ac/ac0716_v2
https://www.nxtbook.com/nxtbooks/ac/ac0616_v2
https://www.nxtbook.com/nxtbooks/ac/ac0516_v2
https://www.nxtbook.com/nxtbooks/ac/ac0416_v2
https://www.nxtbook.com/nxtbooks/ac/ac0316_v2
https://www.nxtbook.com/nxtbooks/ac/ac0216_v2
https://www.nxtbook.com/nxtbooks/ac/ac0116_v2
https://www.nxtbook.com/nxtbooks/ac/ac1215_v2
https://www.nxtbook.com/nxtbooks/ac/ac1115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1015_v2
https://www.nxtbook.com/nxtbooks/ac/ac0915_v2
https://www.nxtbook.com/nxtbooks/ac/ac0815_v2
https://www.nxtbook.com/nxtbooks/ac/ac0715_v2
https://www.nxtbook.com/nxtbooks/ac/ac0615_v2
https://www.nxtbook.com/nxtbooks/ac/ac0515_v2
https://www.nxtbook.com/nxtbooks/ac/ac0415_v2
https://www.nxtbook.com/nxtbooks/ac/ac0315_v2
https://www.nxtbook.com/nxtbooks/ac/ac0215_v2
https://www.nxtbook.com/nxtbooks/ac/ac0115_v2
https://www.nxtbook.com/nxtbooks/ac/ac1214
https://www.nxtbook.com/nxtbooks/ac/ac1114
https://www.nxtbook.com/nxtbooks/ac/ac1014
https://www.nxtbook.com/nxtbooks/ac/ac0914
https://www.nxtbook.com/nxtbooks/ac/ac0814
https://www.nxtbook.com/nxtbooks/ac/ac0714
https://www.nxtbook.com/nxtbooks/ac/ac0614
https://www.nxtbook.com/nxtbooks/ac/ac0514
https://www.nxtbook.com/nxtbooks/ac/ac0414
https://www.nxtbook.com/nxtbooks/ac/ac0314
https://www.nxtbook.com/nxtbooks/ac/ac0214
https://www.nxtbook.com/nxtbooks/ac/ac0114
https://www.nxtbook.com/nxtbooks/ac/ac1213
https://www.nxtbook.com/nxtbooks/ac/ac1113
https://www.nxtbook.com/nxtbooks/ac/ac1013
https://www.nxtbook.com/nxtbooks/ac/ac0913
https://www.nxtbook.com/nxtbooks/ac/ac0813
https://www.nxtbook.com/nxtbooks/ac/ac0713
https://www.nxtbook.com/nxtbooks/ac/ac0613
https://www.nxtbook.com/nxtbooks/ac/ac0513
https://www.nxtbook.com/nxtbooks/ac/ac0413
https://www.nxtbook.com/nxtbooks/ac/ac0313
https://www.nxtbook.com/nxtbooks/ac/ac0213
https://www.nxtbook.com/nxtbooks/ac/ac0113
https://www.nxtbook.com/nxtbooks/ac/ac1212
https://www.nxtbook.com/nxtbooks/ac/ac1112
https://www.nxtbook.com/nxtbooks/ac/ac1012
https://www.nxtbook.com/nxtbooks/ac/ac0912
https://www.nxtbook.com/nxtbooks/ac/ac0812
https://www.nxtbook.com/nxtbooks/ac/ac0712
https://www.nxtbook.com/nxtbooks/ac/ac0612
https://www.nxtbook.com/nxtbooks/ac/ac0512
https://www.nxtbook.com/nxtbooks/ac/ac0412
https://www.nxtbook.com/nxtbooks/ac/ac0312
https://www.nxtbook.com/nxtbooks/ac/ac0212
https://www.nxtbook.com/nxtbooks/ac/ac0112
https://www.nxtbook.com/nxtbooks/ac/ac1211
https://www.nxtbook.com/nxtbooks/ac/ac1111
https://www.nxtbook.com/nxtbooks/ac/ac1011
https://www.nxtbook.com/nxtbooks/ac/ac0911
https://www.nxtbook.com/nxtbooks/ac/ac0811
https://www.nxtbook.com/nxtbooks/ac/ac0711
https://www.nxtbook.com/nxtbooks/ac/ac0611
https://www.nxtbook.com/nxtbooks/ac/ac0511
https://www.nxtbook.com/nxtbooks/ac/ac0411
https://www.nxtbook.com/nxtbooks/ac/ac0311
https://www.nxtbook.com/nxtbooks/ac/ac0211
https://www.nxtbook.com/nxtbooks/ac/ac0111
https://www.nxtbook.com/nxtbooks/ac/ac1210
https://www.nxtbook.com/nxtbooks/ac/ac1110
https://www.nxtbook.com/nxtbooks/ac/ac1010
https://www.nxtbook.com/nxtbooks/ac/ac0910
https://www.nxtbook.com/nxtbooks/ac/ac0810
https://www.nxtbook.com/nxtbooks/ac/ac0710
https://www.nxtbook.com/nxtbooks/ac/ac0610
https://www.nxtbook.com/nxtbooks/ac/ac0510
https://www.nxtbook.com/nxtbooks/ac/ac0410
https://www.nxtbook.com/nxtbooks/ac/ac0310
https://www.nxtbook.com/nxtbooks/ac/ac0210
https://www.nxtbook.com/nxtbooks/ac/ac0110
https://www.nxtbookmedia.com