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Mr. Deakins, could you talk a bit more on why you and Denis Villeneuve chose to board much of Blade Runner 2049 but only select scenes for Sicario?
Additionally, this is the most recent web capture for the pre-September 2013 version of the forum, before it was hacked and many posts got deleted https://web.archive.org/web/20130804072010/http://www.deakinsonline.com/forum2/
A web archive of the old forum can be found here https://web.archive.org/web/20151122001709/http://www.deakinsonline.com/forum2/
What I would submit is that filmmaking is a technical medium and being able to answers these questions by definition implies a base of practical knowledge and skill. Somebody like Pier Pasolini would have very strong opinions about what makes an image resonate, but on his first film his cinematographer, Tonino Delli Colli, claimed that he still had to explain to Pasolini what a ‘lens’ even was. If Pasolini had remained ignorant of something as basic as focal lengths ‘Accattone’ would not have the same expressive power.
Roger, I remember in one of the podcast episodes you and James expressed surprise that a lot of the film students you talk to now don’t seem to know much about exposure. Surely something as essential to cinematography as knowing how to get the exposure you want is a ‘fundamental’.
I know what you mean and the thing I would compare it to is anamorphic lenses, which seemed to lose some of the ‘character’ that differentiated them from spherical as more and more of their artefacts got ironed out. To me the resolution of the Kodak EXR and Vision stocks from the mid-1990s looks radically different from the movies released even a few years prior to their introduction, to the point where for instance 1992 and 1997 can feel like two completely different eras of filmmaking.
