![]() ![]() But it's always saying look at this, rather than look at me.ĭEL BARCO: Deakins says he wanted to be a painter when he was growing up in a seaside resort town in England. And that's what I love about his work is that, you know, every frame does have the feeling of it - that it could be a painting or it could be a proper photograph, beautifully captured image. ![]() JOHN CROWLEY: He doesn't favor fancy effects, and he doesn't favor frames or shots that ever say look at me. Director John Crowley praises Deakins for having composed the film's artistic yet unpretentious images. He rigs his own lighting, goes location scouting, and helps stage the actors. ROGER DEAKINS: The idea of this little kid getting up and just being this great, big landscape is there were some Andrei Tarkovsky Russian movie, you know what I mean? (Laughter) He's - great nowhere, because it much more about what was in his head.ĭEL BARCO: Deakins operates the camera himself. All my fault.ĭEL BARCO: Cinematographer Roger Deakins uses light and camera movements to interpret what in the book were Theo's fragmented memories - his mother's hand on his shoulder, the moment she walks away fading into white, Theo staggering in shock through the smoky remains of the bombed-out museum. For years, Theo is haunted by the tragedy, and he holds onto a Dutch painting he plucked from the wreckage, the Goldfinch.ĪNSEL ELGORT: (As Adult Theo Decker) The painting. It follows 13-year-old Theo Decker, who loses his mother in a bombing at the Metropolitan Museum of Art. MANDALIT DEL BARCO, BYLINE: The film is adapted from Donna Tartt's Pulitzer Prize-winning novel. NPR's Mandalit del Barco reports that Deakins has two films out this year, starting with "The Goldfinch." The cinematographer Roger Deakins has shot some of the most evocative films of the past three decades, from "O Brother, Where Art Thou?" to "The Big Lebowski" to "Blade Runner 2049," for which he won an Oscar.
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