Deakins was born in Torquay in the English county of Devon.[3] His father ran a construction company, while his mother was an actress and amateur painter.[4] Deakins attended Torquay Boys' Grammar School.[5] He took up painting from a young age, and subsequently enrolled in the Bath Academy of Art in Bath, Somerset, where he studied graphic design. While studying in Bath, Deakins developed a passion for photography; he cited the photographer Roger Mayne, a guest lecturer at the academy, as a major source of inspiration.[4][6]
After college, Deakins applied to the newly opened National Film School, but was denied admission as his photography was considered not "filmic" enough. He spent the following year wandering the countryside, photographing rural life in North Devon, before finally being admitted to the National Film School in 1972. Director Michael Radford was one of Deakins's schoolmates.[4]
Career
Early career
After graduating, Deakins found work as a cameraman, assisting in the production of projects for about seven years.[4] An early project of his involved filming a nine-month trip on a yacht as an entrant in the Whitbread Round the World Race, titled Around the World with Ridgeway.[7] Deakins was hired to film two documentaries in Africa. His first, Zimbabwe, was a clandestine documentation of the Rhodesian Bush War, while his second, Eritrea – Behind Enemy Lines, depicted the Eritrean War of Independence.[7][8] He also shot anthropological documentaries in India and Sudan.[4]
Deakins's first dramatic project was a miniseries titled Wolcott, about a black detective working in the East End of London. The camerawork of the miniseries impressed his former schoolmate and frequent collaborator Michael Radford, who enlisted Deakins for their first dramatic feature, the 1983 film Another Time, Another Place.[4][9] The film screened at the Cannes Film Festival and was well-received; subsequently, Deakins and Radford teamed up again on Nineteen Eighty-Four (1984), based upon George Orwell's novel of the same name.[7] The film was praised for its bold, unusual palette,[4] which Deakins achieved through a process known as bleach bypass, where the silver is retained in the print, creating a washed-out look that reflected Orwell's bleak vision. Deakins was the first Western cinematographer to use the technique, which has since become highly influential and can be seen in films such as Seven (1995) and Saving Private Ryan (1998). Throughout the 1980s, Deakins continued working in Britain, serving as cinematographer for films including Defence of the Realm (1986), Sid and Nancy (1986), White Mischief (1987; his third feature film with Radford), Stormy Monday (1988) and Pascali's Island (1988).[9]
For the Coen brothers film O Brother, Where Art Thou? (2000), Deakins spent some two months fine-tuning the look, turning the lush green Mississippi landscape into a burnt, autumnal yellow and desaturating the overall image. This feat made O Brother the first ever feature film to be digitally color-corrected in its entirety,[11] and earned Deakins his fourth Academy Award nomination.[12] The following year, for his work in the Coen brothers' The Man Who Wasn't There (2001), Deakins received his fifth Oscar nomination[13] and won his first BAFTA Award for Best Cinematography.[14]
Deakins worked with the Coens on the 2010 western True Grit—their eleventh collaboration—for which he received his ninth Oscar nomination.[17] Deakins signed on as cinematographer for Skyfall (2012), having previously worked with director Sam Mendes on Jarhead (2005) and Revolutionary Road (2008).[18] For his work, Deakins received another Academy Award nomination for Best Cinematography, eventually losing to Claudio Miranda of Life of Pi—his 10th nomination without securing a win.[19] In addition to his live-action work, Deakins served as both cinematographer and visual consultant on the 2011 animated film Rango (2011), and also served as a visual consultant on animated features, including WALL-E (2008), Puss in Boots (2011), Rise of the Guardians (2012), The Croods (2013), the How to Train Your Dragon trilogy (2010, 2014 and 2019).[20] and Vivo (2021).[21]
Starting with Prisoners (2013), Deakins began working with director Denis Villeneuve. The two proceeded to collaborate on Sicario (2015) and Blade Runner 2049 (2017), with Deakins earning Oscar nominations for all three films.[22] For his work on Blade Runner 2049, Deakins received his first Academy Award for Best Cinematography on his 14th nomination.[23] Deakins reunited with Sam Mendes on the 2019 war film 1917, filmed and edited to appear as one uninterrupted take, for which he received his second Academy Award on his 15th nomination.[24]
Personal life
Deakins married Isabella James Purefoy Ellis (b. January 1954,[25] professionally known as James Ellis Deakins[26] and often referred to simply as James[27][28]) on 11 December 1991.[29] They had met in 1991 in Los Angeles on the set of David Mamet's Homicide, where she was working as the script supervisor.[27] The two began dating after the Homicide production finished and were married within about six months.[27] Since then, James Ellis has "ovesee[n] the digital workflow of... film[s]",[28] and they have worked together on various projects, including The Goldfinch and 1917.[26] As of February 2020, they reside in Kingswear, Devon, and Santa Monica, California.[28]
Deakins has kept a boat since beginning such activities with his father as a child—with him, first a sailboat, then a motorboat—and he currently keeps one in Torquay, his hometown, to which he often goes (and from which he fishes) when in Britain.[27][28]
When in Devon he enjoys running,[27][28] and has maintained a passion for still photography.[28] In 2021, Deakins released a book of his black-and-white still photographs, Byways.[30]
Since 2005, Deakins has maintained a website through which he frequently communicates with admirers and other industry practitioners. His correspondence includes answering fan questions and offering cinematography tips.[3][4] Since April 2020 he and his wife have hosted the Team Deakins podcast, whose guests have included Sam Mendes, John Crowley, and Denis Villeneuve.[31][32]
Deakins is often cited as one of the greatest and most influential cinematographers of all time.[33][34][35] His consistent output led fellow cinematographer Robert Elswit to jokingly suggest that the American Society of Cinematographers should establish a special award for "films shot by Roger Deakins."[4] Deakins received 13 Academy Awards nominations without a win, a fact often lamented by journalists and film critics.[36][37][38] His first Oscar win (on his 14th nomination) for Blade Runner 2049[39] at the 90th Academy Awards was widely reported and met with great enthusiasm.[23]
Deakins is among the most respected and sought-after cinematographers in the film business. His involvement in a film could secure the casting of established stars—a distinction usually reserved for auteur directors.[3] He was hired to shoot The Shawshank Redemption at the insistence of Tim Robbins, who had previously worked with him on the Coen brothers film The Hudsucker Proxy.[40]Josh Brolin agreed to join the cast of Sicario only after hearing of Deakins's involvement.[3] When Ryan Gosling accepted his role in Blade Runner 2049, he cited the involvement of Deakins as a factor for his decision.[41]
^NTFS Staff (28 February 2020). "Honorary Fellows". NTFS.co.uk. Beaconsfield, UK: National Film and Television School (NTFS). Retrieved 28 February 2020.
^NBR Staff (2007). "2007 Award Winners: 2007 Awards Gala". New York, NY: National Board of Review. Retrieved 28 October 2016. See also "About" section at this web location.
_(51473086144)_(cropped).jpg)
.jpg)
.jpg)
