Roger Ebert once said that to simply watch the visuals of a Martin Scorsese film would be just as effective as the experience of the standard audio/visual combination. The same could be said of any film shot by master cinematographer Roger Deakins. From the white-washed landscapes in Fargo to the dazzling palette of Skyfall, few of contemporary cinema’s most iconic shots would exist were it not for Deakins. Enjoy, as I did, this supercut of some of his best work (after the break, courtesy of Plot Point Productions) and stay tuned for my review of Steven Knight’s Locke coming soon!
CHRIS ON CINEMA 