Skyfall - Roger Deakins

Roger Deakins is arguably one of the best cinematographers of our time. I couldn't resist analyzing his work for this class. I'm absolutely  mesmerized by every project he does. Deakins, being a very humble man and someone who firmly believes in not letting his art get in the way of the story, would probably be dismayed to get any of this attention. However, I can't help but be particularly struck by how brilliantly he captures landscapes. He has a way of conveying the mood of an environment in one large, sweeping shot. It isn't dramatic, and it doesn't distract from the storyline, but it is nonetheless stunning.
I originally wanted to do this project on his latest film, Sicario, which is just mind-blowing. However, I couldn't find any of the scenes I had in mind. So, I decided to analyze one of my favorite films, Skyfall.
Skyfall is the first film Deakins used a digital camera to film with. He worked with the Arri Alexa, and seemed to have been very impressed by it. The scene I absolutely love is when Bond and M flee to Skyfall, Bond's childhood home in Scotland. Up until this point in the film, the colors and lights have been warm and bright. When they go to Scotland, the colors turn cold and subdued. This transition to a bleak landscape signals a major shift in the film. Act II has begun.

This place is effective in conveying how very alone and isolated our main characters now are - not just in the physical location, but in the final showdown they're preparing to fight in. The cold tones also set a very chilling, ominous mood to the scene. This setting is also what I'd like to call visually quiet. It isn't flashy or busy. It is very simple and stark. You can sense this silence is the call before the storm. The vast space and emptiness add to the cold uneasiness of this scene.
There's a lot of great balance here. The symmetry is very clear in some shots, like when he parks the car in front of the house. The house itself is very symmetrical. I also just love the way Deakins speaks to use through his shots inside the house. When Bond and M walk in, we get several shots of them from far away, behind furniture and door frames. This hints that they are being watched.
I also have to give nods to the production designer, Dennis Gassner, and the costume designer, Jany Temime, for coordinating the colors of the house interior and the characters' clothes to the scenery outside.
In conclusion, go see Sicario.