In fact, I was fishing today out in my boat. Mainly meteorology came because I spent a lot of my time as a kid fishing. When I went to art college, in the first year you had to do some other discipline as well as art. Where’s the sea? I like that sense of the beyond, I suppose.ĪP: Is it true you once studied meteorology?ĭeakins: I did, yeah, as a kid. I find it hard shooting in New Mexico or something for four months. I don’t think I could live far from the ocean. We mainly live in L.A., but in Santa Monica so we’re only a few blocks from the beach. I grew up in Torquay and we have a place in Devon. The camera is kind of an excuse to do that, in a way.ĪP: There are images in “Byways” not so distant from some of the coastal scenes of “Empire of Light.”ĭeakins: Well, yeah. I enjoy the experience of just looking around and walking. I went out the other day for about five hours wandering around the coastline and I took one shot. I find more and more just wandering around with a still camera a great relaxation, really, because I don’t have any great pressure but my own pressure, I suppose.ĪP: When you go out shooting, do you take a lot of pictures?ĭeakins. And it doesn’t get any less stressful the more experience I get, which is strange, really. I find working on movies as a cinematographer really stressful. It can even change project to project with the same people.ĪP: Is the solitary nature of still-photography part of its appeal to you?ĭeakins: It is, frankly. It’s what’s always been so interesting, really, about doing movies. The lines change depending on the combination of characters involved. Where does directing end and cinematography begin? Where does production design begin and end? Wardrobe, costume, acting. To aid the director in a visual interpretation of a story, really. To you, cinematography is.ĭeakins: A visual interpretation of a story. Remarks have been lightly edited for brevity and clarity.ĪP: Cinematography is a hard-to-define art sometimes compared to painting or described as a grammar. ![]() You just go from project to project, year to year, and just see how things go. ![]() “When people come up to you and gush over your career and stuff, there are moments like that where you go, ‘I suppose I have done a lot,’” Deakins says. ![]() On a recent fall day, the 73-year-old, reflected on his life in image-making, his concern for the future of filmmaking and why “Byways” and the podcast shouldn’t be taken as a new backward-looking impulse. In each episode of “Team Deakins,” they interview craftspeople, offering a window into the behind-the-scenes arts of filmmaking.ĭeakins, a widely revered master of the form, has built an empire of light of his own. Deakins and his wife and collaborator, James Deakins, also maintain one of the most essential podcasts on moviemaking.
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