Cinematographer Roger Deakins talks with NPR's Melissa Block about one of his favorite scenes from the movie "No Country for Old Men". See the full story on npr.org.
If there was a full commentary of the movie like this, I figure I could probably skip going to film school. The man is just so insightful. Definitely one of the greatest of all time.
2007 was an amazing year for Deakins but I wouldn’t say he was robbed for No Country. The winner, Robert Elswit, did an incredible job on There Will Be Blood and also won Best Cinematography from his peers at The American Society of Cinematographers.
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I just realized how he took out his gun for this scene but didn't earlier when going into Moss's trailer. It shows how terrified he is of Anton now that he's seen what he can do.
Yes, he even talks at one point about the old sheriffs that didn't carry a gun at all and you can tell he wishes that was still the case, which makes it even more poignant.
When you suddenly realize that every single one of your Top 10 favorite movies was shot by the same guy. Well... excluding Pulp Fiction and Birdman... but still, I can count the films I like that *don't* have his involvement on one hand.
He should have won for No country for Old Man. This movie was a masterpiece and one of my favorite movies ever. Roger D did a phenomenal job with this movie, every scene was spectacular
Well for starters it can very quickly and very effectively put an idea straight into an audiences head. For example the double silhouettes make create an almost subliminal sense of un-easyness. Also it's relevant because he's one of the current great DoP's and here he is sharing his knowledge and giving background information. this is interesting for anyone interested in cinematography and also anyone interested in films in general.
@jcarrig He means that they cut to the close-up of Jones, then as he starts to turn his head to look around the room, it cuts to his point-of-view (the reverse he's referring to) which is a pan across the room (what the camera move is called when it turns from left to right or vice-versa). He explains that they "cheated" the headlights by basically setting up two separate lamps that look as though they're the headlights from the car in order to get the distinct double silhouette you see.
yeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeees!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! For everyone of his amazing films. He did a small clip for True Grit that lasted 3 minutes. I hope he does one for when Skyfall comes out :D
@herpderpmonkey everything is to create a mood, if he just shot it plainly with adequate light for the right exposure, it would be bland and boring and your subconscious wouldn't find it a threatening or tense scene. 90% of cinematography registers with your subconscious. He has created this whole scene with nothing but light and the way he uses it is what directs our emotions and tells the story.
Oh right, I thought you meant he was done all together in being a DoP lol. I must say though, is it that bad? Unlike many other prolific Dop's and Directors, Roger's moving on and embracing that things are changing. As he said "digital gives me more options", and I can't say it's a "pity" when all he wants to do is try and explore new methods :p Give digital a chance!!
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EdEmKay no, it's the way people analysis it on hope, life and death that isn't clear to many... i like the movie but i liked There Will Be Blood much more and can't wrap my head around why critics felt this movie was "perfect"
can someone answer this? why is what he talks about relevant? Other than visual poetry, I hardly find any significant purpose of shadows and mirrors and "fractured silhouettes".
