Roger Deakins Quotes

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I love reading different scripts and helping create different looks, different environments. Sometimes you go to meet a director over a particular script, and they'll say, 'I want you to do this because I want it to look like Shawshank,'...

What's seemingly a simple thing can actually be the hardest to achieve.

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Some of what I consider my best work, and some of the best films that I've ever worked on, kind of disappear without a trace. There's no accounting for it. Something connects, or something doesn't.

There's so many films from around the world, I emphasize, that are so beautifully photographed, but they don't get the recognition.

The biggest challenge of any cinematographer is making the imagery fit together of a piece: that the whole film has a unity to it, and actually, that a shot doesn't stand out.

I've always painted or drawn pictures or taken still photographs; now I shoot movies. It's just about making images, really.

I love everything that Cormac McCarthy has written.

There are some sequences in films that I think work filmicly, that stand out to me, but that's much more to do with the staging and the cutting and the mood of the thing as a sequence, the way everything...

Every scene is a challenge. There are technical challenges, but often it's the simplest challenge where you feel a sense of achievement when you pull it off.

Some of the smallest things on a smaller film, to me, are greater achievements than on a big film when you have the resources and the time and everything else.

I feel every shot, every camera move, every frame, and the way you frame something and the choice of lens, I see all those things are really important on every shot.

If you shoot with a billion cameras, then there's no perspective. You want to use one shot at a time, so it's better to discover what that is before you shoot, rather than trying to make something in the cutting...

I like simplicity. I like using natural sources. I like images to look natural - as though somebody sitting in a room by a lamp is being lit by that lamp.

There's nothing worse than an ostentatious shot. Or some lighting that draws attention to itself, and you might go, 'Oh, wow, that's spectacular.' Or that spectacular shot, a big crane move, or something.

I came up, I suppose, a fairly traditional way. I went to art college. I always wanted to be a stills photographer, really, when I was younger, and I briefly worked as a stills photographer.

I loved movies ever since I was a kid.

I've always been a fan of Westerns, but my favorite kind of Westerns mostly were Sam Peckinpah's Westerns, and they mainly took place in the West that was changing.

I'd done a big movie that I wasn't happy with, and I was moving out of London when I got approached about Barton Fink, because my agent said the brothers were in London. We hit it off immediately, and suddenly...

I don't approach films purely in context of genre.

I think technology has advanced so far now that there are some cameras on the market that give film a run for its money. It's all about flexibility in capturing images, and digital or film, it doesn't matter to me.

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