Roger Deakins’s cinematography has been nominated for an Oscar® nine times but he has never won. This year, many are rooting for him to take home gold for his work on Skyfall. Deakins primarily works with the Coen Brothers and was nominated for two of their recent films, True Grit and No Country for Old Men.
Vulture interviewed Deakins about his most iconic images including this amazing shot sequence from No Country for Old Men.
I think that was one of the most difficult sequences I’ve ever done, really. I’m not 100 percent happy with it, but I’m not 100 percent happy with anything, really. It was really hard to do, given our budget and schedule. We were filming in New Mexico, and the weather is so different in the mornings and the evenings. Nobody really notices it, but it’s obvious to me that the clouds build up during the day and you’ve got a lot of them in the evening shots, while the morning shots are crystal clear. There are quite a few of those mismatches.
Deakins usually shoots on film but for Skyfall, it was all digital. He explains which he prefers and if digital is easier.
Easier? No, I don’t think so. Maybe it makes you feel a little more secure that you can see what you’re recording on set, instead of waiting to see the dailies the next day. But still, it’s about choices. Whether or not it’s film or digital, much more of my career has been about choosing the location, getting an idea of the look of something, and choosing the practical kinds of lighting and the positions of the windows, anything that enables you to get the look you want.