[Roger Deakins]

Oh my! That is so depressing to hear. The color version was never more than a way to secure finance for the film.

[Roger Deakins]

That’s a broad question. I was recently in the North East and enjoyed being there. There are many unspoiled areas on the border that would interest me if I was looking. I was there in summer though.

[Roger Deakins]

The Coen’s and I generally were on the same page regarding camera movement. Sometimes I would suggest something that was not storyboarded and they may or may not have agreed with the idea. That is callaboration after all.

[Roger Deakins]

I am not sure why you need to see anything outside or bring light through the windows. If its night and there are interior lights on it makes sense that the outside is black.

[Roger Deakins]

I’ve not seen the show.

[Roger Deakins]

Never an option. There is hardly a shot missing from the final cut of NCFOM. Actually can’t think of one right now. The Coen’s only shoot what they script.

[Roger Deakins]

I always though aspect ratio was a creative tool and not a marketing tool. How naive I was.

[Roger Deakins]

That’s interesting as I have always thought of NCFOM as being quite classic and having less camera movement than many of the Coen’s other films. I remember we did fewer slow tracking shots than usual as it felt the script called for a minimal approach.

[Roger Deakins]

It really shouldn’t work that way, that you shoot for TV and get drawn into closer shots because it is a smaller screen. You, the viewer, are closer to that smaller screen (though these days TVs are larger than some multiplex movie screens) so the size relationship should not be all that different. I think the close up and singles are used because it is easier to make changes in the edit and continuity is less of a problem.

[Roger Deakins]

I do like to shoot on certain lens lengths depending on the size of the shot but its mostly about feel. I never measure a distance or a camera height, unless there is a specific match involved. I – and most importantly the directors I have worked with – generally subscribe to the view that when you shoot a close up you should really mean it.

Watch the film Hud, directed by Martin Ritt, to get a good idea of what I am saying. James Wong Howe only shot about six close shots of his actors (though there was often a close up of an actor in the foreground of a two shot  I am talking about singles here), and each really meant something when he did.

[Roger Deakins]

As David says, a basic Rec. 709 LUT is fine unless you want a particular effect. If you have a DIT you can set a ‘look’ with them. Personally, I would not use more than one LUT on a film. I feel many people think a LUT is a solution when it is simply a tool.

[Roger Deakins]

Frankly, I can’t remember if I shot this scene or Chris did. I think (and what I would have done in this kind of situation) I used a ring of household bulbs above the chanedlier and close to the ceiling. The ring, probably 3′ in diameter, would have been skirted with silver foil, simple aluminum cooking foil, to keep the light from filling the room. So, while the practical source was doing much of the work the additional bulbs were softening the overall effect and adding to the exposure while not blating light everywhere as a bounce might.

[Roger Deakins]

You need a sharper light than a panel. An open face lamp or a Fresnel would give a sharper beam and if you have restrictions of space you could consider using a mirror and bouncing the source to extend the distance. You could even used two mirrors. The second might need to be larger depending on the width of the beam you need.

[Roger Deakins]

A film always changes in the edit. The process is not robotic. But, that said, there were only 5 shots that we made for Barton Fink that do not appear in the final cut. The final version of Jesse James is cut in the originally conceived pattern but the film is shorter. The edit was condensed and the final scripted and shot 20 minutes of the story were taken out.

There is no way to be obsessed about a shot that is not used or a move that is truncated. The director and editor are only trying to create the best film out of the material. If you have all been in sync during prep the resulting film will be true to your intent, if not exactly the same as how you shot it.

My disappointment is with my own contribution or, and this is very rarely, with a musical score that has been added.

[Roger Deakins]

Those sequences were blockled out with the actors on the day of the shoot. John had a clear idea of when he wanted to emphasize a moment in the dialogue and bring the two actors to a halt.

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