Roger Deakins on Blade Runner 2049, The Goldfinch and The Assassination of Jesse James
644Roger Deakins on Blade Runner 2049, The Goldfinch and The Assassination of Jesse James by the Coward Robert Ford
There is nothing I can say about Roger Deakins that hasn’t been said before. As one of the best cinematographers that has ever worked in the film industry, Deakins has over and over again delivered brilliant work that has inspired millions of filmmakers around the world. When you look at his resume, it’s impossible not be impressed. While I could go on and on about his entire filmography, here’s just a few things Deakins shot that you might have seen: Blade Runner 2049, Skyfall, Prisoners, The Assassination of Jesse James by the Coward Robert Ford, True Grit, Sicario, No Country for Old Men, O Brother, Where Art Thou?, The Shawshank Redemption, and The Big Lebowski.
There is a reason the Coen Brothers, Sam Mendes, Denis Villeneuve, Frank Darabont, Andrew Dominik, and so many other amazing filmmakers want to work with him.
With director John Crowley’s The Goldfinch world premiering at this year’s Toronto International Film festival before opening in theaters this weekend, I recently sat down with Deakins for an extended interview at the Collider lounge at the Nordstrom Supper Suite at TIFF. If you haven’t seen the trailers, The Goldfinch is an adaptation of Donna Tartt’s Pulitzer Prize-winning novel of the same name. The film stars Ansel Elgort as a boy whose life was upended when his mother was killed in a bombing at the Metropolitan Museum of Art when he was 13 years old. The Goldfinch also stars Nicole Kidman, Oakes Fegley, Aneurin Barnard, Finn Wolfhard, Sarah Paulson, Luke Wilson, and Jeffrey Wright.
During our wide-ranging conversation, Roger Deakins shared some great stories about making Blade Runner 2049, why he likes working on character-driven pieces, why he doesn’t shoot coverage, how often he sets up a shot and then realizes it’s just not working, why he wanted to work on The Goldfinch, what it was like filming the bombing sequence, why he’s looking forward to seeing The Lighthouse, why he wants Criterion to release the longer cut of The Assassination of Jesse James, working with Sam Mendes on 1917, what technology is coming that will help the moviemaking process, his thoughts on drones being used in movies, and so much more.
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