Roger Deakins is a man who needs no introduction. Arguably the most renowned cinematographer currently working, Deakins has burned vivid and unforgettable images into our cinema-going minds, having worked with some of the most respected directors of our time—including Martin Scorsese, John Sayles, Bob Rafelson, Norman Jewison and many others. He’s also lensed some of Joel and Ethan Coen’s best pictures, summoning indelible imagery from the nightmarish, Kafka-esque apartment complexes of “Barton Fink," the sleazy, delirious L.A. daydream of “The Big Lebowski” and the godless Texas frontier of “No Country for Old Men.” He was also behind the cameras for one of the brother’s most sadly overlooked efforts, “The Man Who Wasn’t There," a gorgeous, sullen, 1950’s-era drama about a taciturn barber who gets mixed up in some real bad business. The movie doesn’t traffic in the splashy violence or broad comedy that characterizes some of the Coens' other pictures, but it is a subdued and...
