![]() “I live about four miles, and I jogged that cliff path. The face could be screaming.įor an image captured during a storm, Deakins let the shutter click away, hoping for - and miraculously getting - that ideal lightning strike in the desert expanse, this one bisecting the building in the center of the frame (during the filming of Denis Villeneuve’s “ Sicario”).īut even for a photo he waited literally months to get, of a barren tree leaning over a cliff path, there’s a certain quality of serendipity. Its postcard of Berlin is not the Brandenburg Gate, but an empty playground with holes cut in a wall that form an alarming face, with something that looks like a tank turret in the foreground and smokestacks in the background. Instead of famous landmarks, its souvenirs are moments, some ironic, some intimate. ![]() and Romania, among them) and the shots’ unregulated movement through time, it can’t help but feel like a uniquely curated travelogue. The photographer says there’s no conscious theme or sequencing to the rest of the collection, though considering the title, the wide variety of locales (Melbourne, Australia Budapest, Hungary Albuquerque, N.M. ![]() There was a bearded lady, there was the sheep with the two heads and strip shows.” There are shots of an old-fashioned English fairground, the kind Deakins says you don’t find anymore, with kids on spinning rides in front and signs in the back beckoning patrons to “Boxing” or the “Stripteaze.”Īt his exhibition at the Peter Fetterman Gallery in Santa Monica, he says of that print, “I remember when my brother took me to the fairground where I grew up in Torquay you could go in and join the boxing - they would call for somebody in the audience to come up and attempt to outbox their main guy. There are men with tractors, people with sheep, dogs with jobs, a determined fellow carrying dried brush on his back who brings to mind the cover of Led Zeppelin’s fourth album. But these are very much just me walking around.”Ībout the first third of “Byways” is a time capsule of life in a rural town in the early ’70s, an assignment Deakins had when working for an art center in northern England. “On movies, you still need to be instinctive and reactive to what actors do and everything else that happens on the day. “It’s more the instinct of the moment than generally on a movie,” Deakins says.
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