There's nothing worse than an ostentatious shot. Or some lighting that draws attention to itself, and you might go, 'Oh, wow, that's spectacular.' Or that spectacular shot, a big crane move, or something.
From Roger Deakins
If you shoot with a billion cameras, then there's no perspective. You want to use one shot at a time, so it's better to discover what that is before you shoot, rather than trying to make something in the cutting room, and then it just becomes generic.
There are some sequences in films that I think work filmicly, that stand out to me, but that's much more to do with the staging and the cutting and the mood of the thing as a sequence, the way everything comes together.
Every scene is a challenge. There are technical challenges, but often it's the simplest challenge where you feel a sense of achievement when you pull it off.
Some of the smallest things on a smaller film, to me, are greater achievements than on a big film when you have the resources and the time and everything else.
I feel every shot, every camera move, every frame, and the way you frame something and the choice of lens, I see all those things are really important on every shot.
I like simplicity. I like using natural sources. I like images to look natural - as though somebody sitting in a room by a lamp is being lit by that lamp.
I came up, I suppose, a fairly traditional way. I went to art college. I always wanted to be a stills photographer, really, when I was younger, and I briefly worked as a stills photographer.
I loved movies ever since I was a kid.
I've always been a fan of Westerns, but my favorite kind of Westerns mostly were Sam Peckinpah's Westerns, and they mainly took place in the West that was changing.
5 perspectives
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