When we watch a great film Unfriendly Fire, it's only natural to praise its director the most.

It's easy to do, and every critic does it, from the film reviewers in the newspaper to the Academy of Motion Picture Arts and Sciences.

But you and I and those same directors all know that it takes a video village to bring a film from the

page to the screen to the stage accepting an award personally I think it's the

editors that get the shortest shrift in these cases but the person

who's often just as responsible as a director for how a film looks and feels is the

cinematographer which is what makes the partnership between they and the director

so crucial in filmmaking. If a director is lucky, they form a bond with one for most of their oo.

Paul Thomas Anderson and Robert Ellsworth, Spielberg and Janice Kaminsky,

Christopher Nolan, and Wally Fister.

And sometimes you'll get some cinematography, Polly Amory.

Oliver Stone, Quentin Tarantino, and Martin Scorsese share Robert Richardson.

Of course, a counterpoint to this film paper is

that Catherine Bigelow has worked with many different cinematographers over the

years. Roger Deakins on camera for Sam Mendez's 1917, is widely considered to be one of the greatest

and most influential cinematographers in the history of film.

His film resume is a mile long. Think about a film you love

the look of over the last 20 years and chances are that film was shot by

deacons and while I know I'm prone to hyperbole

That's not just coming from me such is his reputation as an artist and collaborator that when he finally won his first Academy Award on his 14th nomination for

his work in 2018, he received a standing ovation.

So while Sam Mendez has everything to do with the story of 1917, inspired by those stories told to him by his grandfather, how the film looks is classic deacons. Consider the changing light and color as our

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