Academy Award-winning cinematographer Roger Deakins
Bullseye with Jesse Thorn
NPR
4.7 • 2.7K Ratings
🗓️ 24 February 2023
⏱️ 41 minutes
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| 0:00.0 | Bullseye with Jesse Thorn is a production of MaximumFun.org and is distributed by NPR. |
| 0:17.0 | It's Bullseye, I'm Jesse Thorn. |
| 0:19.4 | My next guest is one of the greatest cinematographers in the world, Roger Deacon's. He got his |
| 0:26.0 | start as a director of photography in 1977 on the pulpy British drama Cruel Passion. |
| 0:33.9 | Since then, he's collaborated with John Sales, David Mammoth, Martin Scorsese, Ron Howard, |
| 0:40.9 | Sam Mendez, Denis Villeneuve, and perhaps most famously, Joel and Ethan Cohen. |
| 0:48.6 | Roger Deacon's helped shoot more than half of the Cohen brothers films, including |
| 0:53.0 | Fargo and O'Brotherware Art Thou and No Country for Old Man. |
| 0:58.1 | Deacon's won the Academy Award for Best Cinematography in 2018 for Blade Runner 2049. |
| 1:05.1 | He won again for the war drama 1917. He's nominated for what could be his third Oscar this |
| 1:11.6 | year for his part in Sam Mendez Empire of Light. |
| 1:17.0 | So let's just agree on this. This man is accomplished in his field, one of the greatest |
| 1:22.7 | ever. And if he wanted to try his hand at something else, he'd probably be great at that |
| 1:28.3 | too. And it turns out he has. A couple years back, Roger Deacon's published his first ever |
| 1:33.9 | book of photography. Byways is a collection of photos Deacon's has taken between 1971 |
| 1:40.9 | and now. Unlike his meticulously planned on screen work, these are casual street photographs. |
| 1:48.9 | And you can tell his gift with the camera isn't limited to motion pictures. Deacon's isn't |
| 1:55.0 | just a great picture maker. He is also an incredible talker. It was so great to get to talk |
| 2:02.1 | to him. Here's my conversation with Roger Deacon's. |
| 2:08.0 | Roger Deacon's welcome to Bullseye. It's so nice to have you on the show. I really enjoy |
| 2:11.8 | looking at your book. Thanks, good to be here. In the introduction to your book, you ask |
| 2:17.4 | yourself the question of why you are making this book and suggest maybe vanity. But could |
... |
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