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Watch: Gorgeous Tribute To The Coen Brothers’ Collaborations With DP Roger Deakins

Watch: Gorgeous Tribute To The Coen Brothers’ Collaborations With DP Roger Deakins

After lensing three early great Coen Brothers films, “Blood Simple,””Raising Arizona” and “Miller’s Crossing,” Barry Sonnenfeld decided to leave the director of photography game to become a director and gifted us with “Get Shorty” and “Men in Black,” only later to undo all of that goodwill with “Wild Wild West,” “Men in Black II “and “RV.” The brothers went on to hire Roger Deakins for their enduringly adored “Barton Fink” and a long-lasting partnership ensued. Just like composer Carter Burwell, the name Roger Deakins is now synonymous with the Coens.

So now the folks at Blag Films have put together a four-minute tribute to the Deakins/Coen’s partnership, full of shots that could easily be framed and hung in your swanky bachelor pad. The montage, mostly accentuated by Carter Burwell’s grandiose score from “Fargo,” showcases the full range of Deakins’ work: from the gorgeous whites of that same film to the stark black and white contrasts of “The Man Who Wasn’t There.”

The use of symmetry and color in the series of wide shots at the beginning of the video prove that Deakins really is one of the greatest DPs of contemporary cinema. If you want to see how important he is to the Coens’ oeuvre, just notice how flat and bland the cinematography is in “Burn After Reading,” one of the only Coen Brothers film of the last twenty-three years lacking Deakins’ contribution (he also missed out on “Inside Llewyn Davis,” but that movie didn’t suffer for it). Watch below. [No Film School]

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James Wilson

Disrespect to Chivo Lubeski is rude. But this article was written by a film critic from the Oregon Herald.


great clip, hey too bad the black levels were so crushed on half these clips though that roger deakins himself would probably puke if he saw the way his work was being represented here, great tribute though.

Ron Z.

Just remember that "The Man Who Wasn't There" *wasn't* shot in B/W. But it is impressive that the B/W conversion that came from the shop was beautiful, reflecting Deakins's work AND the processing shop's professionalism.


Deakins is pure brilliance — even more so when you look beyond his work with the Coens. Skyfall and Prisoners were simply exquisitely lensed. This gentleman should have a shelf filled with Oscar statues.


ok you changed the article pointing that ILD cinematography wasn't done by deakins but still implying that lubezki's work is bland and flat..unlike ILD's…are you really that stupid?


Which is to say, a few tracking shots, and an off-centre railroad shot do not impress me.

Where's the movement?

These DPs who rely on a few lights and keep the camera almost still, are nothing compared to those who can move a camera, and maintain tone and composition.

These images are examples of the early years of camerawork. The practice stages.

And as I have studied cinematography, I know.


Barton Fink is the Coens best film.


I've seen better.


Just wanted to comment what others are saying. Burn After Reading (and Inside Llewyn Davis, for that matter) look wonderful.

If there are any Coen brothers movies that could be labeled flat and bland, it would have to be The Ladykillers and Intolerable Cruelty, but they also have their great moments.


also deakins didn't work with the coens on inside llewyn davis…was delbonnel's cinematography flat and bland too?…think before writing something


Also, "Burn After Reading" is NOT the only Coen Brothers film of the last 23 years to not have Deakins. Just last year we got "Inside Llewyn Davis," which was shot by Bruno Delbonnel. Is it that hard to check your facts?


calling lubezki's cinematography flat and bland is not the most clever thing you could've write…by the way are you new is this your first article?


"Burn After Reading" is not flat and bland. At all. And that film's cinematographer, Emmanuel Lubezki, is Deakins' equal.

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