Roger Deakins, the cinematographer whose work has defined the visual language of modern cinema for half a century, admits to struggling to articulate precisely what he does. “Argh!” he exclaims, a characteristic burst of frustration, when asked to define his craft. “It’s very different from still photography. But the essentials are the same. You’re trying to tell a visual story.”
That “visual storytelling,” encompassing the stark landscapes of , the hallucinatory cityscapes of , and the shadowy action of , has earned him 14 Oscar nominations and two wins, five Baftas, and a reputation as arguably the greatest living cinematographer. His career, spanning decades and collaborations with directors like the Coen brothers, Martin Scorsese, and Sam Mendes, is now the subject of a new book, Reflections: On Cinematography, co-written with his wife, James Ellis Deakins.
Speaking from his Santa Monica home, Deakins comes across as disarmingly candid, a man more comfortable discussing the technical challenges of filmmaking than attempting to distill its essence. He jokes about his tendency to “rattle on for ages,” revealing a personality that seems at odds with the often-aloof image of a Hollywood craftsman. His other great passion, fishing in his native Devon, offers a glimpse into a life grounded outside the industry’s pressures.
The dynamic between Roger and James is central to understanding his process. James, a former script consultant who met Deakins on the set of , now coordinates communication on set, acting as a crucial link between Deakins and the broader production team. Where Deakins is expansive and prone to digression, James provides focus and context, subtly guiding the conversation and ensuring crucial details aren’t overlooked.
“But isn’t the cinematographer also thinking,” James interjects, “how can I tell the story visually in the frame?” For her, success isn’t measured by accolades but by the visceral impact of the imagery – the ability to evoke emotion without the audience consciously recognizing the technical skill behind it. “Because it’s so visceral, people might not come out of the theatre and go: ‘That was great cinematography.’ They just think: ‘Oh, it’s a great movie; I was so scared.’ But they don’t know the cinematography helped that.”
Reflections: On Cinematography offers a detailed look behind the scenes of Deakins’s work, revealing a meticulous approach that blends technical expertise with artistic intuition. The book details how he recreated daylight in the claustrophobic cell block of using skylights and diffusion panels, a technique so convincing that another cinematographer mistakenly believed the film had been shot entirely in natural light. It also highlights his dedication to capturing the right conditions – waiting for snow on or for the perfect cloud cover on – and his willingness to embrace unconventional solutions, like using a pole to guide a camera down a bowling alley during the filming of .
The book’s creation also prompted reflection on the state of the film industry. Deakins acknowledges a sense of unease about its current trajectory, citing the rise of streaming, franchise reboots, and the increasing reliance on CGI. His work, characterized by naturalism and a delicate interplay of light and shadow, feels increasingly distinct in a landscape dominated by visual effects. He worries that the craft of cinematography, the art of telling stories through light and composition, is being lost.
Deakins’s path to becoming a leading cinematographer was unconventional. His childhood in Torquay was marked by hardship – his mother developed multiple sclerosis when he was a year old and passed away when he was nine. He describes himself as “lost” during his teenage years, finding solace in films and briefly considering a career in banking before discovering photography. He was initially rejected from the National Film School but was accepted the following year, a turning point that set him on his current course.
His early work in documentaries, photographing life in North Devon and documenting voyages around the world, instilled in him a confidence and a perspective that he believes shaped his later career. “That was the thing I was really lacking as a kid: the experience of life and travelling, and seeing there are many things to worry about than what’s happening in your own interior,” he says. James adds that the immediacy of documentary filmmaking – the need to make quick decisions and capture fleeting moments – honed his skills and prepared him for the demands of feature films.
Deakins emphasizes the importance of collaboration, particularly with directors. He describes his working relationship with the Coen brothers as refreshingly direct, with the filmmakers possessing a clear vision for the visual style of their films. He contrasts this with experiences with other directors who deferred entirely to him, a situation he finds less satisfying. He also stresses the importance of operating the camera himself, a practice that allows him to maintain control over the image and ensure that his artistic intentions are fully realized.
He recounts a memorable encounter with Ridley Scott, a director known for operating the camera himself, where they quickly realized their approaches were incompatible. “We agreed at the end of the interview it wasn’t going to work,” Deakins says, with a wry smile. James adds, “Well, people who are actually there and working love working with you, because you’re so focused and ready to do it. It’s the politics you’re not good at.”
Looking ahead, Deakins expresses a cautious optimism about the future of filmmaking. While acknowledging the challenges posed by technological advancements and changing audience preferences, he remains committed to his craft and to the power of visual storytelling. He and James continue to engage with aspiring cinematographers through their podcast and website, sharing their knowledge and experience with a new generation of filmmakers. “You’ve got to love what you do, whatever It’s,” he says, echoing a sentiment that has guided his remarkable career.
Reflections: On Cinematography by Roger Deakins is published by Octopus on .
