Earliest Shot Idea that Made it to Print?

[Aidan Thornbury]

Hi all, a question for everyone and in particular Mr. Deakins.

When on a project, what’s the earliest you’ve gotten an idea for a shot that ended up in the final cut of the film?

Additionally, overall quality of the script aside, have you ever taken a project because a scene in the script suggested the possibility of a striking visual image, or passed on one due to a lack of noticeable opportunity?

I ask primarily because I’ve noticed that in a lot of the more recent Deakins films, I’m thinking late 90’s and onward, there is at least one scene that has a particularly striking visual as a result of the story. An example would be the Oil Fields scene in Jarhead. The first time I watched the film, I know despite the phenomenal story, the opportunity to construct those frames alone would’ve temped me to the project.

Thanks!

Topic

[Roger Deakins]

I will always get a visual in my head when I read a script, just as if I were reading a novel or a history book. The trick is not to lock onto one perspective and to understand where the director is coming form before you settle on anything. That said, there are a number of images that came to my mind at first reading of a script that appear in films I have worked on. The look of that scene in Jarhead being an example. But every image is the result of a long process of discussion and collaboration. Even an image ‘found on the day’ can only be ‘found’ when everyone is in sync as to what the aim of the story, the scene or the shot is.

I have never been attracted to a film because of its visual opportunities. I love stories rather than pictures for their own sake.

[Author]

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