I had hardly any experience of yachts before then but I convinced a producer at a television company that I was the right choice to shoot a documentary about life aboard one of the yachts. The biggest risk I ever took was probably to volunteer as a crew member on the Whitbread Around the World Yacht Race of 1977-8. The time I spent there allowed to me to gain confidence and to experiment. My experience at the National Film School had, probably, the biggest effect on my development as a cinematographer. I always loved painting and especially the work of Georgio de Chirico and Edvard Munch, but I would say that I was basically self-taught. At art college I was lucky to meet Roger Mayne, who was a tutor for a while, and grew to admire the quiet way he worked as a street photographer. Photography and photojournalism had quite an influence on me as it did on everyone in the late 60s. There is no one way of doing it.I was influenced by the films I saw when I was a teenager, films such as Culloden and War Game by Peter Watkins, films by Antonioni and Visconti, Mizoguchi, Resnais, Breton, Melville and Tarkovsky. It’s so fascinating how everybody’s taken a different path. And I find that’s really interesting for other people starting out. “You know, how they found film, how they came to find a role in it. “One thing about it I think is important is we always ask people how they got into the business,” Roger Deakins said. “We felt it would be really important to talk to people we admired,” Roger said, “so we reached out to people like Alex Webb, a photographer I’ve always admired since I first saw his work.” The Magnum-repped street photographer, who has shot stills for the New York Times and National Geographic, is a refreshing guest on Team Deakins, repping the inspiring work of someone not involved in film production as he discusses the role of color and serendipity in creating great visuals. Hand in hand with this idea was to explore how film professionals find the way of working that’s right for them, says the Deakins couple, in the process of collaboration.
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They are equally interested in what has shaped the careers of artists as they find their way into the movie business.
In that spirit, the power couple themselves are interviewed by several guests on subjects including a breakdown of scenes shot for “The Assassination of Jesse James by the Coward Robert Ford” and “No Country for Old Men.” But, they say, the idea of recording Q&As soon evolved into an exploration of what motivates so many in the film world to follow their dreams. “So I thought if we did a podcast we could answer all those questions once and move forward.” “We do a lot of Q&As and we do get asked the same questions over and over again,” said James. Stephan Ukas-Bradley of camera maker Arri, the host of Team Deakins, spoke to Roger and James for the 28th EnergaCamerimage fest’s master class series, one of 10 presentations that will remain online through the end of 2020.Īlthough the podcast launch appears to have been a brilliant response to COVID-19 lockdowns last spring, the couple says the inspiration for the show pre-dates the pandemic.
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