Cinematographer Roger Deakins talks about the production of EmpireofLight, how he collaborates with filmmakers like Sam Mendes, and more.
There are great cinematographers and then there's Roger Deakins. Outside of major cinephiles, not many know the names of the best cinematographers in the business. Deakins is different though, when he's working on a new film, his inclusion garners as much attention as the filmmaker behind it, sometimes even more so. He's earned it. Having worked on so many iconic films and worked with some of the greatest auteurs in the business.
Related:Olivia Colman & Sam Mendes Talk 'Empire of Light,' Kitchen Zoom Conversations, and Colin Firth DEAKINS: Yeah, no, I mean that happened. Sam sent us a script and James, my wife, and I read it. Oh well, actually we looked at the front page, and it said, "This film is conceived as a single shot," and we thought it must have been some mistake. And then we read the story, and then it started to make sense that that's a way you could interpret that one story because it's quite simply about these two characters and following these two characters.
With Empire of Light, this movie is mainly set in a movie theater, but you manage to make it look beautiful the whole way through, I couldn't take my eye eyes off the screen. What was the biggest challenge with doing a movie in that kind of, almost like a smaller location than let's say a Bond film or a Sicario?
DEAKINS: Yeah. Just about all of it was within half hour drive except the beach scenes where Hilary and Stephen go on the bus to the beach. That was quite a way away, but it was a drive and a shoot, and then we stayed overnight and shot some more and then drove back. So that was the one location that was an issue because it was very specific and we had to go there, but we managed to do it as a traveler workday.DEAKINS: He brought me in actually very early on, actually.
DEAKINS: I always say ... I'm sorry, I'm not going to say a specific shot, I think, because you really, you're trying to make them all fit together. You don't want one to stand out. I mean, I don't know. No, you're really trying to make everything flow together, and you don't want any shot to draw attention to itself. That's not the craft. You really want to be as invisible as possible.
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