![]() I don’t do this just for a job it’s much too hard. The other thing is, you are going to spend three – five months of your life on this film, so it’s got to have some sort of meaning for you. If I wouldn’t go to the cinema to see this film, then I don’t want to work on it. So the script has to affect me emotionally, if it doesn’t affect me, then it isn’t going to affect anyone else. ![]() What is the reason for making this film other than taking peoples money? That’s not enough. I like a script that’s got something to say. I don’t think about it visually on the first reading, images always pop into the mind, but I read it as a book to see how it affects me. Roger Deakins, ASC, BSC: The first time I read I script, I pay attention to how it affects me, whether or not there is something I can relate to in the story. What are you looking for in a script besides a good story? Do images come to you when you are reading the script? I had the opportunity to speak with Roger in his home in Santa Monica. His credits are vast, and he frequently collaborates with the Coen brothers and Sam Mendes. ![]() Roger Deakins, ASC, BSC, nominated for two Academy Awards for Best Cinematography for No Country for Old Men and for The Assassination of Jesse James by the Coward Robert Ford, is easily one of the best and one of the hardest working cinematographers working today. ![]() Camera Movement Techniques, the DI Technology, Working with Directors, and More ![]()
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