Worst Blogger Ever; Roger Deakins; Happy Holidays.

I think I may be the worst Blogger...ever.

ROGER DEAKINS.

Pound for Pound, Product for Product, there's very few Cinematographers who compare with Roger Deakins. His work is not fast or flashy, it is not techy or trendy. It is subtle, thoughtful, and extremely sophisticated. Often, it's pushing perfection.

What's more: As a person, there's no one more generous, more understated. He simply does great work, avoids the fanfare, and gives back to the photographic community in a way I've never seen in another Cinematographer--certainly not of his status.

So, to learn that he was coming to AFI for a screening and Q+A was quite literally a dream come true.

The only thing that stank about the circumstance is that AFI went to the trouble to take a poll over which film we wanted to screen with him. I am certain that either JESSE JAMES, or NO COUNTRY was the film of choice, but for reasons that I'm sure are political, we screened A SERIOUS MAN.

It's not that it's a bad film—it's the Coen Brothers, therefore it's quite the opposite—but it's not Roger's best work. It's not the kind of story that emotes memorable, powerful imagery. Well photographed, no doubt, but not singular in the way that Roger's other work can be.

No Country for Old Men is in my top 5 films of all time. It is one of the 3 films that I consider to be Cinematic Perfection. I would not change one thing about it. That is really, really saying something: A perfect film.

The Assassination of Jesse James by the Coward Robert Ford is pure photographic poetry. Its style is wonderfully tailored to the story, and there's nothing better a DP can do than to visually support the narrative in every way. It's paced, deliberate, haunting imagery—and it's endlessly interesting.

But, though we didn't get the best movie, it became moot in comparison with Roger's presence, which somehow in and of itself was enough. He literally could have sat there and said nothing, and I would have walked away inspired.

But he said more than nothing. He spoke of collaboration and philosophy, techniques and tastes. And it was all gold. I'm not going to go into more details on that—sorry if this disappoints—but that's not what this post is about. Because I think Deakins is the best example of what every artist needs to learn: Be true to the story that's being told.

I think, ideally, we're all a part of something that's bigger than ourselves, yet somehow can't reach its full potential without the individual. A great film is the ultimate embodiment of that. I think Roger is the truest of collaborators, and that's what I admire so much about him.

When asked about why he says yes to a project, Roger simply said:

"I ask myself if I'd pay money to see the movie. If the answer is yes, then I do it."

I love that more than I can say. What he's saying, indirectly, is that he is moved upon by the story—that he is motivated to do a project in the way that a camera is motivated to move: not of its own accord, but because the moment makes it so.

wes.

(Happy Holidays.)