Turning the Tables - Sicario

Team Deakins

James Ellis Deakins

Tv & Film, Filmlighting, Deakins, Movies, Filmmaking, Production, Film, Cinematography, Film Interviews

4.8 • 1.4K Ratings

🗓️ 8 August 2021

⏱️ 98 minutes

🔗️ Recording | iTunes | RSS

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Summary

EPISODE 139 - TURNING THE TABLES - Sicario

Team Deakins has the tables turned on them. Editor Tom Cross (Episode 129) asks the questions and we focus on the film SICARIO. Tom asks us about specific scenes, including the tunnel sequence, the Mexico sequences, and the opening sequence. We talk about the importance of the first shots in a movie and what the original first shot of Sicario was originally planned to be. We break down a sequence that was shot both on stage and location. We also touch on how we work with editors and the importance of our relationship with them. We spoke of the cutting in Sicario as well as the film First Man, which Tom cut. An interesting, in-depth conversation about filmmaking!

Transcript

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0:00.0	Hi and welcome to the Team Deakin's podcast. This podcast is a dialogue between Roger and
0:09.8	James Deakin's often joined in the conversation by a guest. It's very informal and we never
0:16.4	know where it will go. We're connecting through Zoom so bear that in mind when you hear
0:21.5	the audio.
0:23.6	If you'd like to submit a question or topic, please do so by emailing podpod.cod at RogerDeakin's.com.
0:31.7	This episode is sponsored by Ari. More than just the manufacturer of the film industry's top
0:41.0	camera and lighting equipment, they are also the innovator behind cinematic lenses such
0:46.4	as the master prime and signature prime lenses. Ari, truly cinematic.
0:51.8	Today we're doing another Turning the Tables episode where we get asked the questions. The
1:00.2	subject is the movie cicario and the person turning the tables on us is editor Tom Cross.
1:05.6	Tom, thank you for doing this and we hope you will be coming.
1:10.1	James, Roger, thank you for having me do this. I just want to say that I'm a big fan of the
1:21.6	movie cicario. I feel like every once in a while, once in a blue moon, you get a film that is a
1:29.8	collaboration with key artists working on all eight cylinders, so to speak. This is a movie
1:38.2	that is so, so powerful from a directing standpoint, but from a visual standpoint, from a sound
1:44.4	standpoint, the pace, the film editing, but also the casting, the art direction. Everything seems
1:52.3	to really be, again, firing on all cylinders and I just think it's an extraordinary piece of work.
1:59.7	But of course, today we focus on visuals and we focus on your work on it and something that
2:06.5	struck me in rewatching it is just how the movie grabs you from the very opening. I mean, you
2:15.9	opened the movie with this amazing landscape, this beautiful cinema scope landscape and it is
2:23.5	very much reminiscent of a western, although we see track homes in a sort of suburban area and
2:31.6	it's not exactly clear where it is, but it's somewhere that has a lot of desert. So is it New
	...

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