Picture this - Exam season. Semester end papers with consecutive dates. Late on revision and sort of late on submissions as well. The pressure is building up. Deadlines closing in. No time to indulge myself in frivolous tasks at all.
I put on my serious cap, chug in the energy drinks strapping myself on the chair and... start binging Netflix. A resting place for soul in the sea of zero hours. And without many regrets, tune in to watch Mindhunter. There's an afterthought in the back of my mind that I perform considerably better under pressure. The credibility of that statement is something we'll entertain some other time.
Very few shows match the stature of Mindhunter with its compelling storyline, exceptional attention to detail and superb acting. Nothing I didn't notice when I watched the show for first time couple years back. This time though my spotlight of attention was focused on the alluring cinematography. The graceful and carefully planned shots. As if the camera had a personality of its own. Not an easy feat to achieve.
I couldn't help but wonder if Roger Deakins - one of my all-time favorite cinematographers - was the genius behind it all. To my surprise, it wasn't. The work was mostly done by Erik Messerschmidt, an American cinematographer. Chosen by David Fincher for his other works like Gone Girl and Academy Award winner Mank, the decision was foolproof. And the not so surprising element? Mr. Messerschmidt's admiration for Roger Deakins' work. Something I've been wanting to write about since long. Him recently turning 72 was just the opportunity.
My love for good films is indescribable. A good film can be so transportive. It can inspire people. Change people. When it comes to movies, they are one of my favorite artforms. And the most arresting element in filmmaking? Cinematography. Granted that successful cinematographers rely heavily on Production Designer and Art Director to accomplish their cinematic vision. But the role of a cinematographer is incredibly important on set. And when done correctly, can tell a story without a single word spoken. Creating a visual language with only lighting and camera.
The dictionary defines 'cinematography' as the art of making motion pictures. I like to see it as the art of visual storytelling. The director sets his vision and the cinematographer materializes that vision, bringing it to life through the medium of film. Needless to say, it is a significant role in filmmaking. And very few people on Earth do it the way Deakins does. Images that he has created are some of the most memorable in all of film history.
People hate Roger Deakins for the exact reason they love his work. Every movie he lights looks so simple and effortless that one mistakenly thinks "I could do that. That's pretty straightforward." And then realize how wrong they were. As a child in Torquay, England; Roger was a painter. He decided to pursue this passion of the visual arts at the Bath School of Art and Design. And it was here that he discovered what became his primary interest - photography. About a year later, Deakins was pursuing filmmaking at the National Film and Television School in Buckinghamshire. And went on to work on some of the greatest shot films.
A modern classic like "No Country for Old Men" (Dir. Coen Brothers) filled with iconic moments, riveting sequences and great characters;
"Prisoners" (Dir. Denis Villeneuve) with its dark subject matter, lush cinematography and immaculate editing;
Extremely well crafted but immeasurably dark crime-filled world of "Sicario"(Dir. Denis Villeneuve), which was also the contender for Palme d'Or at the 2015 Cannes Film Festival;
Collaborating with Sam Mendes to create "Jarhead", one of the most good looking war films ever made, and then collaborating again to add a splash of beautiful colors in "Skyfall";
These left quite an impact on me as a viewer. After watching "1917" (Dir. Sam Mendes), I realized that this is the type of movie that is going to make future filmmakers. Someone like me who sat down in the theater and was blown away, wanting to grab a camera and try to make a film; someone is going to see this film, in fact, many people will and do the same thing. Or they're just going to watch it and think wow, I'm going to give up because I'm never going to make anything that good. It's sort of a double-edged sword. And finally, what can be said about "Blade Runner 2049" (Dir. Denis Villeneuve). I could make a separate post about this film alone. The marvelous feat it's achieved while staying true to the source material is nothing short of extraordinary. And at the center of it all is Deakins, creating these eye-gasmic frames with meticulous preparations that goes into making that shot. Never settling for mediocre shots. As if he's medically allergic to only ordinarily beautiful shots.
Before "Blade Runner 2049", Deakins had earned 13 Academy Award nominations for best cinematography. He lost every single time. Rather than lack of trying on his part, the contenders were pure geniuses and giants of their field. When you're losing against the likes of Andrew Lesnie, Robert Elswit, Claudio Miranda and Emmanuel Lubezki, there's no shame in losing. Such masters of their craft. Making Deakins the most deserving underdog. The underdog who then won two Oscars in a row, 3 BAFTA Awards and 3 American Society of Cinematographers Awards. Attention to detail in the way he controls the movements of shots with just the right amount of shake in the handheld shots, smooth and steady camera work coupled with low saturation color scheme - painting impressionistic interpretations of the mood, are some of the elements that sets him apart from other great cinematographers.
You can pinpoint a lot of reasons as to why his films are so beautiful. Deakins' use of shadows and contrast, his focus on the actor's performance, his loyalty to the director's vision and screenplay are unique. It's gotten to a point where if you hear Roger Deakins is going to be the cinematographer for an upcoming film, you can almost always trust it will be good. Because he works with directors he can trust. And those directors tend to channel his skill very well.
Making a good image is very easy. Anyone with a phone could do it these days. But to know why a particular lens, lighting setup or color would work in a scene is something very special. In one of the interviews during Maine International Film Festival, he had spoken about how you don't need fancy tricks and color grading. If you know how to light and nail the basics, the results will naturally be stunning. Roger Deakins is an artist. And to try to understand the mind of an artist is a difficult task. True elegance does not ask for attention. What I've learnt from him is that the things we find simply beautiful are often beautifully simple. A lovely parallel for the artistry that's life.
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