![]() A lot of the Brutalist architecture in London became the key, really. Denis and I scouted in London because at one time we had hoped to shoot in London, but there was no stage space. We basically trawled the internet looking for ideas. Were there any touchstones of note when you and Denis started in on the look of the new film? Any photography or artwork that inspired you? I was just a bit thrown when I first saw it it wasn’t what I expected at all. The main character is such an antihero in the book. I was a big fan of science-fiction and Philip Dick, and frankly, the film is so far away from the book. I remember thinking it was more of a detective movie that paid homage to film noir more than it did to science-fiction. Was “Blade Runner” a landmark film for you at all? It continues to inspire new generations of filmmakers. I would have been lost and it wouldn’t have been at all satisfying to try and replicate somebody else’s work. It was a different time and he had a different sensibility. We didn’t talk about it and I didn’t want to go there. So you didn’t go back and look at Jordan Cronenweth’s work in the original film, even for like an aesthetic continuity or anything? It’s really nice the reviews are pretty good, because it was a difficult one, in terms of, you know, some people are going to want you to do things similar to the original, but then others would say, “Well, it’s just a copy.” But it’s very much Denis’ film, and I realized that going into it, that he was going to make his own movie. When he asked me, you couldn’t really say no. But there were kind of rumors of it while we were doing “Sicario,” that they would ask Denis. When Denis first approached you about working on the film, what was your first instinct? Was there trepidation, given that it’s the sequel to such a beloved cinema milestone? It just felt long, you know? It was a long time because I was involved very early on, and over the summer I’ve been involved in the final effects work and timing, so it’s been quite a long haul. Roger Deakins: A moment, I don’t know about that. Did it feel like that? Did it feel like a moment? Variety: This is easily one of the biggest projects of your career. Deakins spoke to Variety about his work on the new film, which has been hailed by some critics as a masterpiece of genre filmmaking.
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