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Roger deakins 35 mm lense12/28/2023 I feel that the image lacks rhythm right now. For example, one time on “Sicario” we were working with a 32 mm lens, and I said, “Roger, I think we should go with a longer lens. But with Roger I trust his instinct a lot. I must say, with a regular cinematographer I’m more involved. I’m used to being part of the process of choosing the lenses and angles. It’s easier to improvise on set when you storyboard the movie in advance. He taught me how useful it was and how it gives you more freedom. It’s a thing I was not used to doing before I worked with Roger. There are discussions of esthetics, to find the specific alphabet of the movie. There’s a process of storyboarding that happens early on. ( Variety’s Scott Foundas wrote, “Villeneuve has once again delivered an impeccably well-crafted film, not least in Deakins’ arresting lensing.”)ĭenis Villeneuve: As with any cinematographer, it’s about creating poetry and strength in the imagery together. Denis was Director of “Sicario,” which opened at Cannes. During the cocktail reception prior to the event, Denis Villeneuve discussed working with Roger. Photo: D.CharriauĪt 6:30pm Friday, May 22, Roger Deakins ascended the red carpet at Cannes, on his way to receiving the Pierre Angénieux Excellens Award for Cinematography. R-L: Pierre Andurand, James Deakins, Roger Deakins, Agnieszka Holland, Irène Jacob, Denis Villeneuve, Tanya Lapointe, Edward McDonnell, Claude Girard.
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