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Hello team Deakins. Thank you for the wonderful podcast, I had such a great time listening.
I have a question related to what you said about that way in which a story could be overpowered by the the style of the cinematography. You also referred to the use of wide screen and an intimate story, and you could not see how it could work.
At that point came into my mind 2046, a Wong Kar Wai film, shot by Christopher Doyle. It is a love story, intimate and wide screen, mostly interiors. I have seen the movie two or three times already, maybe the last time more than ten years ago, and I can’t remember the story, but I do remember the feel of it. It had rather the effect an impressionist painting would have. I was wondering if movies could function in this way too, in which the story is not that important, and the focus is more on the characters and what they feel. A modern way to look at things, I guess. Maybe we do not remember so many stories about our former lovers, but we do remember what we felt for these persons. I would say it works more like a memory of feelings, and not one of facts.
I gave this this example, because you said you never saw an intimate story that worked on wide screen.
Is there a way in witch a film could work while it is relaying more on the cinematography, and the cinematography does overpower the story?
I liked a lot the cinematography of Blade Runner 2049, and I can’t tell if I was more into the story or the way film felt…