Whenever a lot of directors are about to shoot digitally they say, “It’ll look just like film.” Your work with the ALEXA goes beyond that. It’s not trying to be film.
ROGER DEAKINS: Yeah, it just looks like what it looks like. I don’t care what it looks like, because I like the look [Laughs]. The thing that got Sam and I the most when we first starting shooting was just the clarity of an actor’s eye. He looked at it side-by-side with film, and we did a lot of comparison tests, and just that slight sharpness and subtlety of color…you’re right, it’s not film, it’s something else. I really like it. I like how it renders the real world.
So, when you’re starting to work with the ALEXA, there is no questioning over whether wanting to make it look like film?
ROGER DEAKINS: You know, I don’t like doing the comparison thing. I do feel more comfortable with it now. I do love film, but it’s a different look. I think the advantages now definitely outweigh the disadvantages.
I don’t know if you saw the documentary Side-by-Side.
ROGER DEAKINS: Yeah, yeah, it’s a good film, but that documentary is almost out of date already. There’s so many films being shot digitally on the ALEXA and the RED — and I like the ALEXA much better than the RED, but that’s enough of that — since that documentary’s been made. Hugo, for instance, was shot on the ALEXA. So much is being shot on it. [Laughs] The weight of the comparison now is changing, but I know people who absolutely swear by film, and that’s fine. I have no problem, but I don’t see why there’s such a problem when I say I like shooting digitally and probably won’t shoot film again, unless Joel and Ethan [Coen] want to shoot something else. Yeah, it’s just another tool in the paint box, as they say [Laughs].
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