Age: 77
male
Sir Roger Alexander Deakins ASC, BSC (born 24 May 1949) is an English cinematographer. He is the recipient of five BAFTA Awards for Best Cinematography and two Academy Awards for Best Cinematography from sixteen nominations. He has collaborated multiple times with directors such as the Coen brothers, Sam Mendes, and Denis Villeneuve. His best-known works include The Shawshank Redemption (1994), Fargo (1996), O Brother, Where Art Thou? (2000), A Beautiful Mind (2001), Skyfall (2012), Sicario (2015), Blade Runner 2049 (2017), and 1917 (2019), the last two of which earned him Academy Awards. He is often regarded as one of the greatest and most influential cinematographers in mainstream cinema. An alumnus of the National Film and Television School, Deakins was named and serves as an Honorary Fellow of the school in recognition of his "outstanding contribution[s] to ... British film". He is a member of the British Society of Cinematographers and the American Society of Cinematographers, and in 2011 received a Lifetime Achievement Award from the latter organization. Deakins was bestowed a CBE by the Palace for his services to film in 2013 and was knighted as a Knight Bachelor in the 2021 New Year Honours. Description above from the Wikipedia article Roger Deakins, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Roger Deakins
Cinematographer
for Cinematographer in Bond 26: Ouroboros
Suggested by schwarzy
Charlie Sinclair, a British screenwriter, is tasked with writing the new James Bond film. But as he develops the script, the events he imagines begin to come to life. A new global threat emerges: Solomon Drake, a former spy turned terrorist, who seems to know MI6’s every move in advance. When Sinclair discovers he’s being followed and spied on, he begins to suspect that his film might not be fiction after all: it could be a covert war strategy. As the line between reality and narrative blurs, Sinclair finds himself caught in a real espionage mission, teamed up with Kate Dawson, an agent who might protect him... or manipulate him. Meanwhile, the new 007, Alex Mercer, is on Drake’s trail, but he, too, starts to question his own existence: is he a man, or just a character written by someone else? In the final climax, Sinclair realizes that he’s not just writing Bond’s story—he’s rewriting reality itself. The question is: who’s pulling the strings? And more importantly, if the world is just a script, who wrote it in the first place?
