Hi and welcome to the Team Deacons podcast. This podcast is a dialogue between Roger and James Deacons starting with a submitted question or topic and ending

who knows where. We will also be joined by guests for some topics.

If you'd like to submit a question, email it to webmaster at Roger Deacons.com.

Today's topic is lens choices.

We're going to talk about how you make that choice

and why you make that choice.

Raj, what goes through your mind when you think about what lenses you want to use? I mean, well, there's a general discussion you have with a director about the mood of the film, the kind of look of the film,

as everybody calls it. But generally it's a scene to scene thing. There's not that

many films were locked into a certain palette lenses as it were. I mean I remember discussing with Joel and Ethan Fargo

for instance after shooting a had a proxy and a had sugar proxy was quite a stylized film. It was quite exuberant in the camera moves and yes it was

pushed a bit. It was quite a lot of wide lens work for deliberately for the reason to make the camera feel active and make a lot of the spaces seem bigger than they were.

Everything wanted to be slightly larger than life in a way.

And then when that film didn't do so well at the box office, the guys decided to do Fargo, which

is something they had in mind for a long time back in the home, really, in Minnesota.

And it was a very low budget.

The thing about the lenses was they wanted the feeling of it being almost like a documentary

reconstruction of something, you know, a real true event. So we talked about shooting that slightly longer lenses. We also talked about not moving

the camera at all, but in the end the first shot we did was a 120 foot track, but there's still the kind of the overall feeling of the film held.

We didn't always shoot on a 40 or 50 mil, but it was slightly longer lenses than it had been on

a hudsucker for sure. I mean it was 35 or 40 mil was was was more standard

for us you know so aesthetically what would you say the

different focal lengths give you well it's a matter of the the perspective you're given the audience really.

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