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 Roger Deakins is an English cinematographer best known for his work on the films of the Coen brothers, Sam Mendes, and Denis Villeneuve.He is a member of both the American and British Society of Cinematographers.Deakins' first feature film in America as cinematographer was Mountains of the Moon (1990). He began his collaboration with the Coen brothers in 1991 on the film Barton Fink. He received his first major award from the American Society of Cinematographers for his outstanding achievement in cinematography for the internationally praised major motion picture The Shawshank Redemption (1994).He is also known for his work in The Assassination of Jesse James by the Coward Robert Ford (2007), No Country for Old Men (2007), True Grit (2010), Skyfall (2012), Sicario (2015), and Blade Runner 2049 (2017).Deakins also worked as one of the visual consultants for Pixar's animated feature WALL-E.In 2018 he won an Oscar for best cinematographer for his work in Blade Runner 2049.
Bio:
Roger Deakins is an English cinematographer best known for his work on the films of the Coen brothers, Sam Mendes, and Denis Villeneuve.He is a member of both the American and British Society of Cinematographers.Deakins' first feature film in America as cinematographer was Mountains of the Moon (1990). He began his collaboration with the Coen brothers in 1991 on the film Barton Fink. He received his first major award from the American Society of Cinematographers for his outstanding achievement in cinematography for the internationally praised major motion picture The Shawshank Redemption (1994).He is also known for his work in The Assassination of Jesse James by the Coward Robert Ford (2007), No Country for Old Men (2007), True Grit (2010), Skyfall (2012), Sicario (2015), and Blade Runner 2049 (2017).Deakins also worked as one of the visual consultants for Pixar's animated feature WALL-E.In 2018 he won an Oscar for best cinematographer for his work in Blade Runner 2049.
Tivia:
Despite his reputation among cinematographers, he has never once shot a film with anamorphic lenses. When he shoots for 2.35:1, he either shoots with Super 35 film stock or crops it in post. This is because he prefers working with Spherical Lenses for the look of his films, and anamorphic lenses are slower with processing light, and can give unwanted blemishes such as lens flares.Operates the camera himself, which is rare for British cinematographers.Views 'cinematography as a collection of images, not individual images', according to Andrew Dominik.A collaborator of notable loyalty, his gaffer/lighting technician Bill O'Leary has been with him since their first joint venture on Sid and Nancy (1986). Irish gaffer John Higgins has also assisted Roger on several features from 1984 (1984) through 1917 (2019).Was tied with George J. Folsey for 13 Academy Award nominations for best achievement in cinematography without a win, but has since "lost" the record upon winning for Blade Runner 2049 (2017).Loves taking still photographs and fishing.According to himself, from their very first encounter, him and the Coen brothers seemed to be on the same wavelength.Is a staunch advocate of digital cinematography for its consistency in yielding instant and accurate results that need little or no treatment in post. Likes to create most of his imagery in-camera without using any filters or fill light.Is the most Oscar-snubbed cinematographer having been nominated 13 times (1995-2016) before finally winning the statuette for his 14th nomination for Blade Runner 2049 (2017) and again for his cinematic masterpiece 1917 (2019) . Curiously enough, composer Thomas Newman who, with Deakins, was first Oscar-nominated for The Shawshank Redemption (1994), but Newman has never landed the award despite being nominated 14 times through 2020.Is affected by the films of Jean-Pierre Melville, Andrei Tarkovsky, Akira Kurosawa, Kenji Mizoguchi and Luchino Visconti.His artistically inclined mother was an actress and amateur painter.(March 4, 2018) During a post Oscar ceremonies interview, Deakins declared that he was especially delighted to have received his first Oscar alongside fellow Brit and first time Oscar winner Gary Oldman (for Darkest Hour (2017)). Early in their careers Roger filmed Sid and Nancy (1986) in which Gary made his breakthrough performance. This was their only collaboration.Sometimes uses a specially modified lens, nicknamed a 'Deakinizer'. Notably used in The Assassination of Jesse James by the Coward Robert Ford (2007) and in a few shots of A Serious Man (2009).Graduated from the United Kingdom's National Film and Television School.As of 2015, he finds, among his work, The Man Who Wasn't There (2001) is the most cohesive as a piece of visual interpretation.His favorite films are The Wild Bunch (1969), Come and See (1985), La Dolce Vita (1960), Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), Le Samoura? (1967), Army of Shadows (1969), Once Upon a Time in the West (1968), Rocco and His Brothers (1960), The Passenger (1975) and Paris, Texas (1984).Graduated from college with the idea of making documentaries.As of 2020, he has contributed with the cinematography of eight films that were nominated for the Best Picture Oscar: The Shawshank Redemption (1994), Fargo (1996), A Beautiful Mind (2001), No Country for Old Men (2007), The Reader (2008), A Serious Man (2009), True Grit (2010) and 1917 (2019). Of those, A Beautiful Mind (2001) and No Country for Old Men (2007) are winners in the category.Filmed anthropological documentaries in India and Sudan.Member of the British Society of Cinematographers (BSC) since 1986, and the American Society of Cinematographers (ASC) since 1994.First met his wife-to-be James Ellis Deakins on the set of Thunderheart (1992) where he was director of photography and she was a script supervisor.Received four American Society of Cinematographers Award nominations in the space of two years: for The Assassination of Jesse James by the Coward Robert Ford (2007) and No Country for Old Men (2007) in 2008, and for The Reader (2008) (shared with Chris Menges) and Revolutionary Road (2008) in 2009.When he attended Roger Mayne's -who was an English photographer- classes in the college, Mayne was a big influence on the way he started to see things.Intended to become a painter when he enrolled in the Bath Academy of Art.He was awarded the CBE (Commander of the Order of the British Empire) in the 2013 Queen's Birthday Honours List before being awarded the Knight Bachelor of the Order of the British Empire in the 2021 Queen's New Years Honours List for his services to Film. He is a Cinematographer.Member of the Board of Governors of the Academy of Motion Picture Arts and Sciences (Cinematographers Branch) [2004-2007]. |
| Name: |
Roger Deakins |
Type: |
Cinematographer,Camera and Electrical Department,Additional Crew (IMDB) |
| Area: |
All World |
Platform: |
IMDB |
| Category: |
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Business scope: |
Cinematographer,Camera and Electrical Department,Additional Crew |
| Products for sale: |
Cinematographer,Camera and Electrical Department,Additional Crew |
| Last update: |
2024-07-01 05:31:44 |
| Height: |
5' 10' (1.78 m) |
| Biography: |
Roger Deakins is an English cinematographer best known for his work on the films of the Coen brothers, Sam Mendes, and Denis Villeneuve.He is a member of both the American and British Society of Cinematographers.Deakins\' first feature film in Americ |
| Trivia: |
Despite his reputation among cinematographers, he has never once shot a film with anamorphic lenses. When he shoots for 2.35:1, he either shoots with Super 35 film stock or crops it in post. This is because he prefers working with Spherical Lenses for the look of his films, and anamorphic lenses are slower with processing light, and can give unwanted blemishes such as lens flares.Operates the camera himself, which is rare for British cinematographers.Views 'cinematography as a collection of images, not individual images', according to Andrew Dominik.A collaborator of notable loyalty, his gaffer/lighting technician Bill O'Leary has been with him since their first joint venture on Sid and Nancy (1986). Irish gaffer John Higgins has also assisted Roger on several features from 1984 (1984) through 1917 (2019).Was tied with George J. Folsey for 13 Academy Award nominations for best achievement in cinematography without a win, but has since "lost" the record upon winning for Blade Runner 2049 (2017).Loves taking still photographs and fishing.According to himself, from their very first encounter, him and the Coen brothers seemed to be on the same wavelength.Is a staunch advocate of digital cinematography for its consistency in yielding instant and accurate results that need little or no treatment in post. Likes to create most of his imagery in-camera without using any filters or fill light.Is the most Oscar-snubbed cinematographer having been nominated 13 times (1995-2016) before finally winning the statuette for his 14th nomination for Blade Runner 2049 (2017) and again for his cinematic masterpiece 1917 (2019) . Curiously enough, composer Thomas Newman who, with Deakins, was first Oscar-nominated for The Shawshank Redemption (1994), but Newman has never landed the award despite being nominated 14 times through 2020.Is affected by the films of Jean-Pierre Melville, Andrei Tarkovsky, Akira Kurosawa, Kenji Mizoguchi and Luchino Visconti.His artistically inclined mother was an actress and amateur painter.(March 4, 2018) During a post Oscar ceremonies interview, Deakins declared that he was especially delighted to have received his first Oscar alongside fellow Brit and first time Oscar winner Gary Oldman (for Darkest Hour (2017)). Early in their careers Roger filmed Sid and Nancy (1986) in which Gary made his breakthrough performance. This was their only collaboration.Sometimes uses a specially modified lens, nicknamed a 'Deakinizer'. Notably used in The Assassination of Jesse James by the Coward Robert Ford (2007) and in a few shots of A Serious Man (2009).Graduated from the United Kingdom's National Film and Television School.As of 2015, he finds, among his work, The Man Who Wasn't There (2001) is the most cohesive as a piece of visual interpretation.His favorite films are The Wild Bunch (1969), Come and See (1985), La Dolce Vita (1960), Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964), Le Samoura? (1967), Army of Shadows (1969), Once Upon a Time in the West (1968), Rocco and His Brothers (1960), The Passenger (1975) and Paris, Texas (1984).Graduated from college with the idea of making documentaries.As of 2020, he has contributed with the cinematography of eight films that were nominated for the Best Picture Oscar: The Shawshank Redemption (1994), Fargo (1996), A Beautiful Mind (2001), No Country for Old Men (2007), The Reader (2008), A Serious Man (2009), True Grit (2010) and 1917 (2019). Of those, A Beautiful Mind (2001) and No Country for Old Men (2007) are winners in the category.Filmed anthropological documentaries in India and Sudan.Member of the British Society of Cinematographers (BSC) since 1986, and the American Society of Cinematographers (ASC) since 1994.First met his wife-to-be James Ellis Deakins on the set of Thunderheart (1992) where he was director of photography and she was a script supervisor.Received four American Society of Cinematographers Award nominations in the space of two years: for The Assassination of Jesse James by the Coward Robert Ford (2007) and No Country for Old Men (2007) in 2008, and for The Reader (2008) (shared with Chris Menges) and Revolutionary Road (2008) in 2009.When he attended Roger Mayne's -who was an English photographer- classes in the college, Mayne was a big influence on the way he started to see things.Intended to become a painter when he enrolled in the Bath Academy of Art.He was awarded the CBE (Commander of the Order of the British Empire) in the 2013 Queen's Birthday Honours List before being awarded the Knight Bachelor of the Order of the British Empire in the 2021 Queen's New Years Honours List for his services to Film. He is a Cinematographer.Member of the Board of Governors of the Academy of Motion Picture Arts and Sciences (Cinematographers Branch) [2004-2007]. |
| Trademarks: |
Frequently works with the Coen Brothers
Simple lighting design, often using only one or two lights
Only shoots films using spherical lenses
Regular cinematographer of Sam Mendes films ever since Jarhead (2005). |
| Quotes: |
Things usually work out better than you plan. When you're shooting a film you're so close to it, it rarely lives up to your expectations while you're there. You always want it to be better, more perfect. When you see a cut, maybe two or three months later, you come to it fresh. It's generally much better than you thought it would be.
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Someone said to me, early on in film school... if you can photograph the human face you can photograph anything, because that is the most difficult and most interesting thing to photograph. If you can light and photograph the human face to bring out what's within that human face you can do anything.
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All I've ever wanted to do is take stills of people, or take documentaries about people, and try to express to an audience how somebody lives next door. You know what I mean? Just how similar we all are as individuals.
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[on preferring to do post-production digitally] On a film like A Serious Man (2009) without a huge budget, you're on a tight schedule and shoot when you have to, even if the light isn't exactly what you want. If you do a digital intermediate (DI) you can change the lighting, the saturation and the contrast. You can do a lot without spending the money to go to an effects house.
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The prep period is especially important. Joel and Ethan Coen and I really enjoy it. By the time we're on the set, we're discussing not what we're doing that day but rather something we're doing later that may be a problem. |
| Salaries: |
The Village (2004) - $384,750 |
| Job title: |
Cinematographer,Camera and Electrical Department,Additional Crew |
| Spouse: |
James Ellis Deakins (December 11, 1991 - present) |
| Parents: |
Josephine Deakins
William Albert Deakins |
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