![]() ![]() ![]() That said, there’s some very stiff competition, not least from some fellow legends of the lenses. But we reckon he’ll make the cut, and could finally be rewarded. That said, the cinematographers, more than any other branch, refuse to be swayed by anything but the work, hence nominations in recent years for films like “ Girl With The Dragon Tattoo,” “ Harry Potter & The Half-Blood Prince,” “ The Dark Knight” and even “ The Black Dahlia.” In a strong year for the category, there’s always a chance that Deakins could miss out - or make the final five, only to lose out for a tenth time. So, it seems a pretty good starting point for this week’s Oscar category breakdown to examine if 007 will be the film to finally win Deakins his Oscar, and what competition he has to overcome.Ģ024 Oscars: Best Original Song Predictionsĭeakins is certainly due, and he’s taken to the digital revolution in an impressive manner since switching over with last year’s otherwise forgettable “ In Time.” But will the action-adventure nature of the work count against him? For instance, we’d floated Robert Elswit‘s impressive IMAX work in “ Mission Impossible: Ghost Protocol” last year as a possibility, but it never materialized. It’s certainly one of the best looking films of 2012.ĭeakins has been nominated for Best Cinematography nine times (for “ The Shawshank Redemption,” “ Fargo,” “ Kundun,” “ O Brother Where Art Thou,” “ The Man Who Wasn’t There,” “ No Country For Old Men,” “ The Assassination of Jesse James” - the latter two in the same year, no less - “ The Reader” and “ True Grit“), but never won. And the result is an action film where every frame could hang in a gallery (the Shanghai sequence and the final set-piece in particular). More than anything else, Sam Mendes‘ master-stroke may have been bringing his “ Jarhead” and “ Revolutionary Road” DoP (and Coen Brothers veteran) Roger Deakins along on the adventure. And that’s what we were after: the ultimate cat-and-mouse scene.If there’s one thing that even “ Skyfall” naysayers agree on, it’s that the film’s cinematography looks absolutely stunning. If the imagery had been frenetic, like what you usually see on billboards, we wouldn’t have been able to build that sort of menace. Shot Significance: “The calming, poetic nature of the jellyfish imagery builds the tension of the scene. The jellyfish originally were just a stand-in image, but it was such a good choice, it stayed.” Then we built the set on the soundstage and spent a number of weeks rigging it, positioning every light. Making It Work: “We built a model to see how the reflections would work and so we could position the big billboards and have the assassin firing at the hotel room in the right position. ![]() Gradually we came to the idea of making everything glass, so the whole thing was this big box of magical reflections.” ![]() The Scene: James Bond hunts an assassin in a glass office tower in Shanghai, the pursuit heightened-and highlighted-by walls of glass and neon advertising images of sea jellies.īirth of the Shot: “We were coming out of the monochromatic gray of England, so we wanted to arrive in Shanghai with a bang-a lot of color and movement of light. ![]()
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