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	A CONVERSATION WITH ROGER DEAKINS, ASC, BSC
		Roger Deakins, ASC, BSC was born and raised in a small seaside town called Torquay in Devon, England.
		Deakins has compiled some 38 narrative credits including such other memorable films as the recent HBO film Dinner With Friends, Imagine entertainment's A Beautiful Mind, and his sixth feature film with the Coen brothers, The Man Who Wasn't There, which is being released in fl and white.
		DEAKINS: The digital route was something we'd talked about as a possibility on O Brother as Joel and Ethan had such a specific look in mind for the picture, but it wasn't seriously considered at the beginning mainly because of cost.
	www.cameraguild.com /interviews/chat_deakins/deakins_conversation.htm (7796 words)

	Roger Deakins and Intolerable Cruelty and Coen Brothers and The Man Who Wasn't There and digital intermediate and EFilm ...
		Deakins stresses that the main advantage provided by the DI on a piece like Intolerable Cruelty is subtle in nature, but particular sequences wouldn't look the same without the process.
		These kinds of subtleties, as Deakins calls such DI tweaks, are crucial, but the DP insists at the end of the day, the real reason that the digital intermediate approach will proliferate throughout the film world is the release print issue.
		Roger Deakins says the DI process was used to saturate images more than would have been possible photochemically for certain sequences, particularly the Las Vegas scenes.
	digitalcontentproducer.com /di/depth/video_roger_returns (2611 words)

	KODAK: How Roger Deakins and the Coen Brothers Explored New Territory in the Digital Suite
		Deakins put that idea on the table after reading the script and thinking about the importance of the landscapes and the epic nature of the story.
		Deakins explains that he had shot Kundun in Super 35 format and liked the textures of images recorded with the spherical lenses.
		After testing, Deakins decided to use the Kodak Vision 500T film for photographing night exterior and interior scenes, Kodak EXR 100T film for most daylight exteriors, and Kodak EXR 200T film for daylight scenes in shadowy forest locations and also for photographing blue screen elements of effects shots.
	www.kodak.com /US/en/motion/newsletters/inCamera/oct2000/oBrother.shtml (1768 words)

	MovieMaker Magazine \| Archives (Site not responding. Last check: 2007-11-05)
		Born and raised in the UK, where he got his start as a documentary moviemaker, Deakins is now one of the most celebrated cameramen in Hollywood or, for that matter, anywhere else.
		In 1998, MM deemed Deakins one of the world's 15 greatest living cinematographers, and featured him on the cover.
		Roger Deakins (RD): Yes, it really is. The problem is you can't keep working with people because you may not be available at the time they're doing a project.
	www.moviemaker.com /hop/editorial.php?id=392 (2031 words)

	Roger Deakins, ASC, BSC
		Roger Deakins was born in Torquay, Devon, England.
		He started in documentaries, shooting many in Africa as well as covering the Whitbread Round the World Yacht race that required him to work for more than 9 months as a crew member while filming a documentary.
		Roger then went on to feature cinematography, starting in England and then later shooting in the United States.
	www.rogerdeakins.com (198 words)

	“O Brother Where Art Thou?” Shot Through Cooke Lenses by Roger Deakins, Oscar-Nominated Director of Photography
		Roger Deakins, director of photography of the critically acclaimed film “O Brother Where Art Thou?” used Cooke S4 Prime Lenses during the filming.
		Deakins shot a number of times directly into the sun without any glare, and the night shots, motivated by very bright flames, including burning torches, were sharp and clean with no double images or kickbacks.
		Deakins’ work on such features as "The Shawshank Redemption" (1994), "Fargo" (1996), "Kundun" (1997), "O Brother Where Art Thou?" (2000) and "The Man Who Wasn’t There" (2002) — all Oscar-nominated for Best Cinematography — has earned Deakins a reputation as one of the premier cinematic visionaries of his generation.
	www.studentfilmmakers.com /news/article_460.shtml (576 words)

	INTERVIEW: Shooting Coens; D.P. Roger Deakins and "The Man Who Wasn't There"
		Roger Deakins: I did a few documentaries as co-director and cameraman.
		Deakins: We didn't obviously go look at Godard films before making "The Man Who Wasn't There," but I think in general, Coutard's photography is much more about naturalism and soft sources, partially because he didn't light a lot, or used natural light.
		Deakins: I told them a long time ago, that as long as they want me to shoot their movies, I'll make myself available.
	www.indiewire.com /people/int_Deakins_Roger_011030.html (1672 words)

	Roger Deakins
		Roger Deakins' latest collaboration with the Coen brothers, The Man Who Wasn't There, has earned rave reviews for its daring use of fl-and-white.
		Deakins' mastery of the focal and textural possibilities of fl-and-white recalls old Hollywood masters like Gregg Toland, who shot Citizen Kane and The Best Years of Our Lives.
		Transformed by Roger Deakins fl-and-white cinematography, which creates vast amounts of cold, shadowy, purifying space a la Kubrick's The Killing, his face is a thing of loveliness and we explore it as excitedly as astronauts taking first steps on the moon."
	www.cameraguild.com /interviews/chat_deakins/deakins_manwho.htm (534 words)

	Roger Deakins Biography :: Hollywood.com (Site not responding. Last check: 2007-11-05)
		Roger Deakins began his career shooting short films, documentaries and even a soft-core vehicle for Koo Stark before emerging as one of England's leading cinematographers.
		His skill at negotiating difficult situations led Deakins to Africa for two other TV documentaries, "Zimbabwe", which was clandestinely filmed during a civil war, and "Eritrea--Behind the Lines", about the ravages of conflict in that land.
		Since 1989, Deakins has worked mostly in the USA, beginning with the underrated "Mountains of the Moon" (1990) and extending through a long association with the Coen brothers, including the stunning "Barton Fink" (1991) and the brothers' first major studio effort, "The Hudsucker Proxy" (1994).
	www.hollywood.com /celebs/fulldetail/id/193412 (1024 words)

	Film & Video \| Cinematographer Roger Deakins Talks Jarhead
		Roger Deakins, director of cinematography for Jarhead, five-time Oscar nominee and two-time ASC Award winner (The Man Who Wasn’t There, The Shawshank Redemption), had a number of challenges on the Desert Storm film: Giving it a sand-blasted, contrasty look, shooting handheld and anticipating VFX that would seamlessly transform the location.
		Deakins: There is something very strange about it, a certain surreality.
		Deakins: Pablo was in sync with what we were doing because he was there every day.
	www.studiodaily.com /filmandvideo/main/5721.html (609 words)

	KODAK: 74th Annual Academy Awards Nominee Roger Deakins, ASC, BSC
		Roger Deakins, ASC, BSC was born and raised in a small seaside town in Devon, England.
		Deakins subsequently completed his education at the National Film School.
		This is the fifth Academy Award nomination for Deakins.
	www.kodak.com /US/en/motion/forum/featureFilms/oscars2002/deakins.shtml (289 words)

	True Luminaries: Roger Deakins - page 5
		The film presents the life of the 14th Dalai Lama in a series of lyrical, dreamlike sequences photographed with consummate skill by Roger Deakins, who combined naturalistic lighting with director Martin Scorsese's penchant for kinetic camera moves.
		Deakins says that initially, "The studio 'entrance' consisted of a mud wall with this door in the middle, and when you went through, there was one small 'stage' really just a warehouse surrounded by an expanse of desert.
		Deakins sought to lend the story a naturalistic look through the use of practical sources such as butter lamps.
	www.theasc.com /magazine/jun98/lumin/pg5.htm (639 words)

	Coen Brothers - "You Know, For Kids!" the movies of the Coen brothers
		Award-winning cinematographer Roger Deakins has worked on every Coen movie since Barton Fink.
		Deakins' work with the Coens has been honored with an Academy Award®; nomination for Fargo, and Best Cinematography awards from the New York Film Critics Circle, the Los Angeles Film Critics, and the National Society of Film Critics for Barton Fink.
		Deakins began working as a still photographer before enrolling in Britain's National Film School in 1972.
	www.youknow-forkids.com /filmmakers.htm (1822 words)

	DVD Review - Fargo: Special Edition (Site not responding. Last check: 2007-11-05)
		Their remarkable cinematographer, Roger Deakins, shares their eye for detail.
		Roger Deakins' commentary is informative and affectionate, both for the movie and the Coens in general.
		Deakins strikes a nice balance between technical information and a more general overview of the shoot.
	www.thedigitalbits.com /reviews3/fargose.html (1634 words)

	The Man Who Wasn't There
		Thanks to Roger Deakins breathtaking cinematography, this modern existential film noir is one of the more absorbing films of 2001.
		Deakins work isn't just a seperate character in the movie, it practically builds the framework of the movie.
		But thanks to the quietly powerful performances of Thornton and Co., and the sure-footed directing, this is one of the few times I wish we lived in a fl-and-white world.
	www.dreamagic.com /OtherRoger/review3.html (1295 words)

	Balancing Act
		Though The Man Who Wasn't There is Roger Deakins' first feature film in fl and white, the DP's years of experience as a still photographer meant the process was no mystery to him.
		Deakins went with a stylized noir look on certain scenes, like one involving Thornton, McDormand, and Tony Shalhoub in a jailhouse visiting room.
		For his next project, Deakins was in Japan prepping the World War II drama To the White Sea for the Coens.
	livedesignonline.com /mag/lighting_balancing_act (1969 words)

	Reel.com: Best Cinematography
		A three-time Oscar bridesmaid, Deakins sports a 25-year resume chock-full of stylish and notable films (Thirteen Days, Kundun, Courage Under Fire, Dead Man Walking, and Shawshank Redemption, among others), with this being perhaps his most unique effort.
		Against Him: Gladiator and Tiger are both flashier films with greater technical hurdles for their camera-masters, and Deakins has twice the resume.
		Not since Henri Decae's work in Purple Noon has the Mediterranean looked so appealing, and a crisply photographed air-raid sequence might be film's most realistic look at the Allies' WWII bombing campaign — from the receiving end.
	www.reel.com /reel.asp?node=features/awards/oscars/2001/cinematography (677 words)

	DreamWorks SKG Fansite-The House of Sand and Fog (Site not responding. Last check: 2007-11-05)
		"Roger is one of the greatest cinematographers in the world, and I felt incredibly honored to have him on my first movie.
		"Roger was a key voice in keeping the style of the movie simple and clean and not overly complicated," London adds.
		Roger Deakins agrees, "This is really a character piece, and on a film like this, the cinematography should blend into the background.
	www.dreamworksfansite.com /houseofsandandfog/makingof_page_3.php (1005 words)

	THE LADYKILLERS - Production Notes...CinemaReview.com....Movie Reviews, Movie Contents, Moviegoer Opinions and Much ... (Site not responding. Last check: 2007-11-05)
		Cinematographer Roger Deakins (8 films with the Coens), production designer Dennis Gassner (6 films), costume designer Mary Zophres (7 films), stunt coordinator Jery Hewitt (9 films), and special effects coordinator Peter Chesney (7 films) are all Coen brothers regulars.
		Not as technically demanding but equally interesting was the football sequence, with stunt camera work involving cinematographer Roger Deakins.
		Cinematographer Roger Deakins, a longtime collaborator with Joel and Ethan, has worked on eight of their films.
	www.cinemareview.com /production.asp?prodid=2440 (1330 words)

	ROGER DEAKINS
		During the late 1970s, Deakins and a friend filmed 'Zimbabwe', a doc sponsored by the African National Congress.
		They did it under the guise of making a tourist film, but in reality they were recording what was going on during the civil war.
		The effect of the flashing brought down the contrast a bit so that wasn't a problem." Where required by circumstances, Deakins was also able to subtly reverse the effect by giving the negative slightly more exposure and timing down the denser negative, thus intensifying the fls.
	www.cinematographers.nl /PaginasDoPh/deakins.htm (1369 words)

	74th Oscar Countdown: 13 Days
		Lord of the Rings could win this one in a technical sweep, and Black Hawk Down would be a very deserving winner, but I think the Academy will go with the Coen brothers film The Man Who Wasn't There, for its gorgeous fl and white cinematography.
		Roger Deakins is universally admired, and the cinematography in that film has been honored and discussed more than any other achievement in cinematography this past year.
		But if one does take it from The Man Who Wasn't There, it will be Lord of the Rings, as they do like to honor grand epics with spectacular visuals like Lord of the Rings has.
	www.suite101.com /article.cfm/academy_awards/90113/4 (407 words)

	The Shawshank Redemption
		The Shawshank Redemption was nominated for seven Oscars®; in 1994.
		They were Best Actor (Morgan Freeman), Best Cinematography (Roger Deakins), Best Film Editing (Richard Franic-Bruce), Best Music - Original Score (Thomas Newman), Best Picture (Nikki Marvin), Best Sound (Willie D. Burton et al) and Best Writing, Screenplay Based on Material from Another Medium (Frank Darabont).
		Roger Deakins also won an award for Outstanding Achievement in Cinematography in Theatrical Releases from the American Society of Cinematographers in addition to other photographic awards.
	www.tnt.tv /title?oid=20338-492 (163 words)

	Deakins wins ASC Award
		Live Design's TQ Now offers up to date information on designers, technicians, and manufacturers involved in all aspects of theatre--lights, sound, sets, costumes, projections, makeup, etc--from around the world, with special emphasis on project profiles and technical how-tos.
		DP Roger Deakins won the American Society of Cinematographers Award Sunday night for The Man Who Wasn't There.
		Deakins, who was nominated for a Best Cinematography Oscar last week his work on the Coen Bros.' fl-and-white film noir, previously won the ASC Award for 1994's The Shawshank Redemption.
	livedesignonline.com /news/lighting_deakins_wins_asc/index.html (341 words)

	MovieMaker Magazine \| HOP \| Archives
		The sheer number of excellent films Roger Deakins has shot since his career began in the late 1970s is impressive by any standard.
		Deakins has worked with some of the most interesting directors in the business, including David Mamet, Mike Figgis, Frank Darabont, John Sayles and Martin Scorsese.
		His most recent work can be seen in the Oscar-winning film, A Beautiful Mind, as well as the Coens’ The Man Who Wasn’t There.
	www.moviemaker.com /hop/toc.php?issue=11 (658 words)

	Movie Info for The Man Who Wasn't There on MSN Movies
		His plan goes horribly awry when he accidentally commits a murder for which Doris ends up being blamed, landing her in the slammer and Ed at the mercy of blowhard big-city lawyer Freddy Riedenschneider (Tony Shalhoub).
		Filmed in fl-and-white by three-time Oscar-nominated cinematographer Roger Deakins, The Man Who Wasn't There was inspired by the seedy crime novels of James M. Cain, putting a distinctly Coen brothers' spin on the film noir tradition.
		Though spiked with their characteristic humor, its moody atmosphere hearkens back to the darker moments of Blood Simple and Fargo -- a marked departure from the high-spirited slapstick of O Brother Where Art Thou.
	entertainment.msn.com /movies/movie.aspx?m=10139 (261 words)

	Behind the Scenes of TBL (Site not responding. Last check: 2007-11-05)
		Award-winning cinematographer Roger Deakins has worked on every Coen movie since
		Deakins' work with the Coens has been honored with an Academy Award® nomination for
		He has also been recognized with an Academy Award nomination and an A.S.C. Award for his work on "The Shawshank Redemption," and an Oscar® nomination and Best Cinematography awards from the New York Film Critics Circle, the Boston Society of Film Critics, and the National Society of Film Critics for Kundun.
	www.getdirectdata.com /behind_the_scenes.htm (1642 words)

	Roger Deakins (Site not responding. Last check: 2007-11-05)
		Dead Man Walking (1995) (as Roger A. Deakins)
		Discuss this person with other users on IMDb message board for Roger Deakins
		Find where Roger Deakins is credited alongside another name
	us.imdb.com /Name?Deakins,+Roger (229 words)

	Review: Kundun
		This film is sadly lacking in a number of important areas: passion, energy, and drama, to name a few.
		And, while Kundun boasts impressive cinematography (by Roger Deakins) and an effective score (by Philip Glass), the images and music aren't enough to hide the picture's essential hollowness.
		Scorsese is best known, of course, for movies about violence and corruption.
	www.reelviews.net /movies/k/kundun.html (775 words)

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		Highlighted crew members work in three or more.
		Ethan Coen Production Designer: Dennis Gassner Cinematographer: Roger Deakins Editor: Ethan Coen, Joel Coen MILLER'S CROSSING (1990) http://imdb.com/title/tt0100150/fullcredits Producer: Ben Barenholtz, Ethan Coen, Graham Place, Mark Silverman Director: Joel Coen.
	a.parsons.edu /~lisa/cinema/LisaDaly_hw2.doc (166 words)

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