get the service weapon out you know the thing about cinematography is you're not there to shoot amazing images gun gun laughed because it each film demands its own look and each situation demands its own look but I don't want anybody while they're watching the film go oh that's an amazing image because that's then suddenly they're not in the story what de la pistola da da da my son and it won't either david cohen from variety here this is artisans and our guest this week is cinematographer Roger Deakins Rogers latest film is the drug war thriller Sicario directed by Denny via knew Roger invited us to his home to explain how he adapts his style to each new film he makes when you read a script what are you looking for how do you visualize it no I don't I don't read a script with anything in mind visually I mean obviously images come to your mind otherwise you'd turn your brain off but no I read it like a wood or novel you know the thing for me was knowing Denny was going to do it and having worked with Denny and learning his films and then I read it with a certain kind of point of view that I felt would be his point of view you know but I remember we had similar conversations that we had at the beginning of prisoners use you know that how far do you want to go towards naturalism do you want to shoot the you know that the handheld pseudo-documentary style that seems very popular now but neither Denny and I really think our handle on Allen that house you see at the beginning it's very beige inside the lighting is very even but that says something about what's going on in the scene I thought right it's but it also says something significant about the world that you're putting this this activity in pretty ordinary house in a pretty ordinary um community it could be anybody's house in a way into what is before we're going to a parcel right the whole SUV convoy going into Mexico and coming back was really hard to produce one is this trike created in America but you know actually not move out of Albuquerque where we're shooting but there was just no alternative we had to go into that New Mexico to get that sense that you're in a totally different culture and environment weird ask about the night vision as well yeah I mean the thing that thing was that that sequence okay they get out the SUV at dusk and they go down into the darkness I said Danny I don't feel I can do it traditional film moonlight you know night light look so he said well let's see if we can do the whole thing as their point of view but in order not to completely confuse the audience if we had two systems it would be good so I chuck night vision before a few times but then I hadn't shot infrared and I thought that's a really interesting way to go and then we gave that to Alejandra's character so Alejandro has the thermal imagery but everybody else has a standard green night vision system yeah you come from a documentary background you're used to shooting what you find yeah you not everybody seems to have that instinct well I think you have to have it because not everything is completely planned you know you have to be flexible to the moment and especially these days with the style of acting I mean very often these days your shoot in the rehearsal for instance I like the camera to be close to the characters which comes from documentaries plis nothing will make sense to your American use and you will doubt everything that we do in the end you will understand – is it different when you're shooting the face of a movie star while you're not shooting a movie star you're shooting a character and a story and I think that's more important so if you shoot a movie star you're shooting somebody that doesn't belong in the movie I mean I have in the past got in trouble because I'm put a flat front light on somebody's face you can't do something against what you do you know that's the way I'd see things that this that's my job I mean especially in sodariot especially in saqqara and that said obviously you're not going to make somebody look lousy just for the sake of making them a little aussi I mean you are making si still you're still making a film once upon a time