![]() ![]() ![]() Since teaming up with them, he has exhibited astounding versatility with some of the most respected filmmakers in the business, including Martin Scorsese (“Kundun”), Ron Howard (“A Beautiful Mind”), Michael Apted (“Thunderheart”), Frank Darabont (“The Shawshank Redemption”), John Sayles (“Passionfish”), Stephen Daldry (“The Reader”), Sam Mendes (“Revolutionary Road,” “Skyfall”) and Denis Villeneuve (“Prisoners,” the upcoming “Sicario”), to name a few. Not that Deakins has worked exclusively with the Coens all these years. “When you find somebody as brilliant as Roger is after having done a movie with him, it’s hard to imagine doing without,” Joel Coen said in one interview. managed to meld his no-nonsense approach to the filmmakers’ absurdist, mordantly droll world view with incredibly nimble and rangy style, from “Fink’s” phantasmagoria of Hollywood paranoia to the ’30s screwball humor of “The Hudsucker Proxy” (1994) to “Fargo’s” snowbound tragedy of a ridiculous man (1996) to the B&W neo-noir of “The Man Who Wasn’t There” (2001) to the filmmakers’ ultimate depiction of a godless universe, “No Country for Old Men,” the Academy’s best picture winner from 2007.Įthan Coen has said that he and Joel “generally do a draft of the story by ourselves and with the storyboard artist, and do a subsequent draft, as it were, with Roger.” Just as George Martin was considered by many to be the fifth Beatle, Deakins is the third Coen brother. They would work together again on Radford’s “1984,” a stark treatment of Orwell’s totalitarian classic rendered in muted tones and a gritty realism.īut it was the Murphy’s Law universe of the Coen brothers, with whom Deakins has collaborated dating back to 1991’s “Barton Fink,” that he established his reputation. Deakins gravitated toward features by connecting with the director Michael Radford, with whom he attended National Film and Television School in the U.K., on “Another Time, Another Place” (1983), Deakins’ first narrative d.p.
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