![]() It's a very wide angle, almost fish-eyed but not distorted, and it's beautiful considering how old the technology is. Then the camera is mounted on a boat and it's a guy heading downriver, with the camera rigged at foot-level. The opening is a fairly straightforward helicopter shot over the treetops, using almost a fixed camera locked in a three-quarter angle. There's no acting, and when the acting does start it's pretty flawed, but you really feel like you're there. In some ways, it's a pretty inaccessible film - it's 50 years old, culturally very different and super-stylised, but the opening sequences show the power of filmmaking to transport you. What most interests me is the power of cinema and the opening shots of I Am Cuba have an authenticity and beauty that's unique. There's a shot where Gregory Peck, an American submarine commander, surfaces off the coast of San Francisco to see what's left and it's just nothing. I'm in Australia at the moment and have rewatched On The Beach (shot by Italian great Giuseppe Rotunno), which is set here in the aftermath of a nuclear war. There's this beautiful sequence in L'Avventura where Monica Vitti and Gabriele Ferzetti stop in an abandoned town and the camera tracks down this deserted street. Yusov died recently - I was sad not to have been able to meet him.Īntonioni's films always had beautiful cinematography - L'Eclisse, Red Desert, The Passenger. He also shot Solaris for Tarkovsky, which is also a remarkable-looking film. I don't know what camera Vadim Yusov shot with in the water, but I'm sure it was a lot heavier than the ones we use now. ![]() It's this incredible black and white landscape, illuminated by flares like a kind of ghostly hinterland, with this downed fighter plane jutting out of the earth. I don't know how to pick just one shot - I guess it depends on what mood you're in that day - but there's a shot in Ivan's Childhood where the boy is crossing between the German and Russian lines that I absolutely love. He spoke to Empire from Sydney, 10,000 miles from his native Torquay, where he was working on Angelina Jolie's wartime drama Unbroken. In short, Deakins is a giant of his field. "I walked into Roger Deakins' lighting in two different movies, and I didn't feel I had to give a performance." The Academy has agreed and included his work on Prisoners in this year's Oscars shortlist. "Sometimes you get a cinematographer who shoots something, and you walk into their light, and they're doing 50 per cent of my job," Jake Gyllenhaal recently told The Hollywood Reporter. And if that’s not enough, he also directed “This Much I Know To Be True,” the Nick Cave documentary that earned strong reviews at SXSW.The great Roger Deakins CBE is the man who made Skyfall shimmer like no other Bond movie, whose stellar work with the Coens began with Barton Fink ten Joel-and-Ethan movies ago, and who currently has 11 - count 'em - Oscar nominations to his name.īeloved of directors and all of his fellow cinematographers, it's safe to say he's high on the Christmas card list for most of the actors he's lit, too. Netflix is releasing his long-awaited Marilyn Monroe biopic “Blonde,” which stars Ana de Armas as the iconic movie star. While it’s disappointing that the director’s preferred cut is being kept under wraps, fans of Dominik have plenty to look forward to this year. And that’s the one that Roger was talking about.” Criterion were not interested in ‘Jesse James.’ There is a better version of ‘Jesse James’ - in my opinion - that’s about 15 minutes longer. “They’re not interested in doing it, and I think somebody tried to petition Criterion to do it. to allow us to release a longer version of it,” Dominik said. nor Criterion seemed interested in releasing it. Dominik confirmed the existence of a longer cut, which he says he prefers to the original, but he lamented the fact that neither Warner Bros. But I still remember that first early cut that I saw that was like three and a quarter I think, and it was pretty stunning.”ĭeakins’ comments prompted director Andrew Dominik to weigh in. I don’t think it ever will, because last time I talked to Andrew about it he was quite happy with the version that got released. ![]() “That’s what I’d hope for… It was over three hours. “I would really like to see the long version, the first cut that I saw, released on Criterion,” Deakins said. Roger Deakins Says Producers Wanted ‘Sicario’ Filmed in Fort Lauderdale: ‘Has Anybody Read the Script?’
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