Sir Roger Deakins, widely regarded as one of the greatest cinematographers in the history of cinema, speaks with quiet authority about his craft. The two-time Academy Award winner, whose work includes Skyfall, Blade Runner 2049, 1917, and The Shawshank Redemption, offers insights into a career that has produced some of the most beautiful images ever committed to film.
Serving the Story
“The moment the cinematography draws attention to itself, you have failed,” Deakins says, a statement that might seem surprising coming from a filmmaker known for breathtaking visual compositions. “My job is to serve the story. Every lighting choice, every camera movement, every lens selection should be in service of what the scene needs to communicate emotionally.”
This philosophy has guided Deakins through collaborations with directors including the Coen Brothers, Denis Villeneuve, Sam Mendes, and many others. Despite the visual beauty of his work, Deakins insists that technical craft should always be subordinate to narrative purpose.
The Digital Revolution
Deakins was an early and influential advocate for digital cinematography, a position that initially drew skepticism from some traditionalists. “I never understood the resistance to digital,” he reflects. “It is simply a different tool. What matters is what you do with it. The emotional truth of an image does not depend on whether it was captured on celluloid or a sensor.”
He credits the Arri Alexa camera system with enabling much of his recent work, praising its ability to capture subtle variations in light and color that were previously difficult to achieve. But he emphasizes that technology is only as good as the person using it.
Advice for Aspiring Cinematographers
“Look at paintings,” Deakins advises. “Look at photographs. Look at the way light falls in the real world. Train your eye before you ever pick up a camera. The best cinematographers are not technicians, they are observers of light and human behavior.”
He also stresses the importance of collaboration. “Cinematography is not a solo art. You are working with a director, a production designer, actors, gaffers, and grips. The best images come from genuine creative partnerships where everyone is contributing to a shared vision.”
