No Country for Old Men -Roger A. Deakins

[Ash Bolland]

Amazing!

-

[Phil D]

Agreed. It is a fantastic, gripping, visually driven film! Cinematic storytelling at its very best!

[Sanjin Jukic]

Great!

Good to know that also the editing of the film was done in

Apple's FCS 2>>>LINK (http://www.apple.com/finalcutstudio/action/?movie=coenbrothers)

[Tom Lowe]

In some ways, I prefer the photography in No Country over Jesse James.

I think No Country used Arri Master Primes while James used Cooke S4s. At my theater, No Country was much, much sharper. The landscapes felt visceral.

By the way, my favorite scene in this movie was that badass pitbull chase in the river! I was like "Whoa."

[Sanjin Jukic]

No Country for Old Men (2006),

The Assassination of Jesse James (2006) >>

Cinematography by ROGER DEAKINS, ASC, BSC>>>LINK (http://www.rogerdeakins.com/)

Must have a look his forum on the above link.

http://homepage.mac.com/sanjinjukic/RED/no-country.jpg

http://homepage.mac.com/sanjinjukic/RED/jesse-james.jpg

Also read about those films in Roger Deakins Q&A (Western Destinies)

at American Cinematographer Magazine, October Issue 2007, Pages 30-47 (requires subscription).

[Jaime Vallés]

Just saw the movie yesterday. Amazing. Masterful storytelling, and great visuals. This is cinema at its best. If you haven't seen it, run, don't walk.

I'm amazed that there was (practically) no music during the movie! For a suspense film to work without the use of underscoring is just amazing. Made it feel even more realistic. Good stuff.

[Jim Hoffman]

I'm a sound guy and LOVED what they did. This was such a pleasure, from a film standpoint, to watch. Violent though. But the violence supports the story - not violent for violence sake. Beautiful images. Great opening. Its been a few hours and I'm still wrapping my head around the characters. Tommy Lee Jones' guy got me thinking.

Very nice & inspiring.

[Álex Montoya]

Where can I find an online article on its cinematography?

[Sanjin Jukic]

Where can I find an online article on its cinematography?

Roger Deakins, ASC, BSC>>> Web Page>>> (http://www.rogerdeakins.com/index.php)

International Camera Guild>>>Roger Deakins, ASC, BSC>>Main Info (http://www.cameraguild.com/index.html?interviews/chat_deakins/index.htm~top.main_hp)

A Modest Lens: an Interview with Roger Deakins by Dustin Luke Nelson (http://www.indigestmag.com/deakins1.htm)

Also read about Roger Deakins Q&A (Western Destinies) at

American Cinematographer Magazine, October Issue 2007, Pages 30-47 (requires subscription) (http://www.theasc.com/cgibin/store/acsstore.cgi?user_action=category&category=Subscriptions).

[RayFrisby]

THAT is no country for old men. The young
In one another's arms, birds in the trees
- Those dying generations - at their song,
The salmon-falls, the mackerel-crowded seas,
Fish, flesh, or fowl, commend all summer long
Whatever is begotten, born, and dies.
Caught in that sensual music all neglect
Monuments of unageing intellect.

An aged man is but a paltry thing,
A tattered coat upon a stick, unless
Soul clap its hands and sing, and louder sing
For every tatter in its mortal dress,
Nor is there singing school but studying
Monuments of its own magnificence;
And therefore I have sailed the seas and come
To the holy city of Byzantium.

O sages standing in God's holy fire
As in the gold mosaic of a wall,
Come from the holy fire, perne in a gyre,
And be the singing-masters of my soul.
Consume my heart away; sick with desire
And fastened to a dying animal
It knows not what it is; and gather me
Into the artifice of eternity.

Once out of nature I shall never take
My bodily form from any natural thing,
But such a form as Grecian goldsmiths make
Of hammered gold and gold enamelling
To keep a drowsy Emperor awake;
Or set upon a golden bough to sing
To lords and ladies of Byzantium
Of what is past, or passing, or to come.

SAILING TO BYZANTIUM
W.B. Yeats
The Tower (1927)

[Craig Ryan]

This movie is amazing; I just saw it for the second time today and was still AMAZED with Deakins; he and the Cohen bros are a match made in heaven. The landscape shots really struck me; I haven't seen a print look so sharp for a while.

I also agree that the sound mix was incredible. Those footsteps in the desert/valley scenes were so real and crisp. I was in movie ecstasy heh.

Content wise it's still all floating around upstairs...That last scene with Jones rings in your head for a long time. As usual with the Cohens, a lot of chuckle-inducing one-liners/dry humor and cultural/social observations. Oscar nods for this film...has to be.

[Jeff Kilgroe]

OK, I finally got around to seeing this one last night... Unfortunately, their projector was out of focus, so I was looking at a soft image the whole time, very aggravating. The print was really rough too with some nasty scratches through the first 15 minutes or so of the film, kinda weird.

Other than that, I thought the photography was great. Interesting story, good performances. Have to agree with Graig, the sound mix was excellent. The pacing was a bit too slow for my tastes. When it was over, I felt like there should have been something more. But still a great film and I'm going back for second helping here in a week or so.

Analyzing the film, I can't help feeling that the Llewelyn Moss portrayed by Josh Brolin was a man far wiser than what his actions dictated. Or to clarify more, the character delivered by Brolin seemed smarter than the story surrounding him -- Brolin did a fantastic job, but I'm not sure he got it "right". What I saw of Brolin's Llewelyn was a man who had far too much experience with bad people and bad things. Not the kind of man I would have expected to be so slow in discovering the transponder and definitely not a man who would sit directly in front of a door, knowing that his assailant is on the other side, preparing to kick in or blast through that door with who knows what tool or weapon. But yet, that's what the story gave us.

[Erik Rangel]

Hey Jeff, did you see it at the Denver west? They've always had issues and as far as the print...this has been playing there for at least 6 weeks. Saw it there the second time. Had to. That was one of those movies that sat with me and I just couldn't get out of my head...hell just talking about it makes me want to go again.

"...Call it, Friendo.."
-Anton Chigurgh aka badasss!

[Jeff Kilgroe]

I saw it at the Promenade... Normally they're pretty good.

Anton is a badass.

[Erik Rangel]

The lighting was subtle through out, it looked like it was all practical with the exception of the great shot of Tommy Lee Jones' shadow on the motel wall towards the end.
Plus the PLACEMENT of the camera...pure skill not a shot wasted. The Coen Bros. have been at it for a long time but this movie shows off their experience.

[Craig Ryan]

Speaking of that shot of Jones' shadow on the motel, did anyone else notice the reflections on the door hardware when Jones noticed it was blown out? They must have cut back and forth between Jones' perspective and Anton's about twice and you could see reflections of the other guy in each one..I only noticed this the second time around, but it was pretty damn cool. Kinda creepy when he finally goes in and no one's there though.

[Jeff Kilgroe]

did anyone else notice the reflections on the door hardware when Jones noticed it was blown out?

Yeah, I caught that... But my brain can't decide or recall if Sheriff Bell (Jones) waited until Anton's reflection was gone before entering the room or not. I'll have to see it again.

[Jaime Vallés]

Yeah, I caught that... But my brain can't decide or recall if Sheriff Bell (Jones) waited until Anton's reflection was gone before entering the room or not. I'll have to see it again.
I may have misunderstood it, but I thought that Anton was hidden behind the door while the Sheriff was inspecting the room. It felt even creepier to me that way... :shiftyph34r:

[Craig Ryan]

Yeah, I wasn't sure either if Anton was still there or not. I figured if he was...he probably would have killed him just as he had done pretty much everyone else he encountered. Then there was that shot of the window lock..which I think was unlocked...could have meant that Anton escaped out the window at the last minute. I'm still not certain though...its creepy though.

[Zakaree Sandberg]

Yeah, I wasn't sure either if Anton was still there or not. I figured if he was...he probably would have killed him just as he had done pretty much everyone else he encountered. Then there was that shot of the window lock..which I think was unlocked...could have meant that Anton escaped out the window at the last minute. I'm still not certain though...its creepy though.

he was in the other room..
there were two rooms next too each other.. I think the coen bros were doing the same thing there as with the coin toss.. he basically had 2 choices.. he picked the right room and thus didnt die.

[Craig Ryan]

Ahhh good call man good call, I forgot that Anton had rented out the room next to it. Yeah that makes sense with the coin toss motif. Thanks for the explanation.

[Sanjin Jukic]

LOS ANGELES (Reuters) - "No Country for Old Men",
a gritty thriller about a killer who cuts a path of destruction across Texas,
was named best film at the Critics Choice Awards on Monday, leaving contenders
such as "Into the Wild" and "Juno" by the wayside.

"No Country" also took home the directing prize for brothers Joel and Ethan Coen,
while Spanish actor Javier Bardem was honored for his supporting role as a cold-blooded
hitman with a novel means of dispatching his victims."

LINK>>> (http://news.yahoo.com/s/nm/20080108/media_nm/criticschoice_dc)

http://d.yimg.com/us.yimg.com/p/rids/20080108/i/r540492687.jpg
Actor Javier Bardem.

We should not forget the fact that Coen brothers edited "No Country" and maybe also even graded (CC) on FCS 2.