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!