Roger Deakins on Instinct, Experience and Not Knowing What Is a Cinematographer: ‘I Still Can’t Answer That’

Roger Deakins on Instinct, Experience and Not Knowing What Is a Cinematographer: ‘I Still Can’t Answer That’ hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Oct 18, 2026 1:38am PT Roger Deakins on Instinct, Experience and Not Knowing What Is a Cinematographer: ‘I Still Can’t Answer That’ By Callum McLennan Plus Icon Callum McLennan Latest A Cyclops on Strings and Samantha Morton Reshaping Faces by Hand: How Christopher Nolan’s ‘The Odyssey’ Made Its Monsters Real 5 days ago Sony Pictures Imageworks’ Michelle Grady and ILM’s Janet Lewin on Bad Bosses and Changing Studio Culture: ‘Culture Is What You Tolerate’ 5 days ago View Conference Director Maria Elena Gutierrez on Mixing Oscar Winning Masters and Beginners, the Power of Human Imagination and Staying in Turin 1 week ago See All Add us as a Google Preferred Source Comments Walking through Turin with his wife and creative partner James Ellis Deakins, Roger Deakins found himself thinking about Giorgio de Chirico. The Italian painter, one of his favorites, had drawn inspiration from the city’s vast squares, long arcades and unusual arrangements of light and shadow.

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Deakins was noticing the relationship for himself. It’s characteristic of a man who has spent much of his life looking at the world, yet remains somewhat at a loss to explain precisely how he sees it.

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Popular on Variety It’s an uncommon admission from someone whose images have helped define contemporary cinema, from “No Country for Old Men” to “Blade Runner 2049” and “1917.” But for Deakins, the work is too dependent on the circumstances of a story, and the people telling it, to be reduced to any one method. “It’s your emotional reaction to things that’s important,” he says.

Technical considerations can be discussed, but the decisions that shape an image ultimately arise from something inexplicable. Perhaps his relationship with looking began as something more personal.

As a young man, Deakins, born in the southern English resort of Torquay, discovered that the camera offered a kind of confidence, a way of approaching a world in which he hadn’t always felt comfortable. “I was kind of hiding behind the camera to a certain degree,” he recalls.

“I had confidence because there was something between me and reality.” He could scarcely have imagined where that camera would take him. Only in retrospect has he come to appreciate the significance of experiences whose importance wasn’t apparent at the time.

“If you don’t experience things, then what have you got to contribute?” It’s a conviction he shares with Ellis Deakins, his wife and essential collaborator on every project since they met on Michael Apted’s “Thunderheart.” For her, experience gives a filmmaker more than a collection of visual references. It provides different ways of understanding the people and specifics of a story.

“If you’re going to tell a story, having had many different experiences gives you many different points of view,” she says. “You’re able to actually add more to the story.” Deakins worries that cinema can become too inward-looking, with filmmakers drawing inspiration primarily from other films.

“I rarely, if ever, do that,” he says of referencing earlier movies. “You bring all the things that you experienced in your l

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