![]() ![]() It was a bit of a struggle, but that’s what we did.” (Thompson on Hollywood) Digital finishing was starting, people had been using digital technology to do effects work and we thought, “Why not try and do the whole film like that?” We made some tests and figured that by the time we finished shooting and were in post-production that the technology would be advanced enough that we could do it. We also wanted a kind of feeling of a painted postcard, and we experimented for quite a long time. “We were shooting in Mississippi in mid-summer and the Coens and I wanted a dry, dusty look but obviously, it was a very lush environment. The result is an orgy of beautiful colors that pop off the screen and welcome us into the 21st century through the eyes of 3 outrageous escaped convicts in the 1930’s deep south. It has a beautiful, rustic style that was developed after the footage was shot on film and then transferred to digital (and then re-transferred back to film). In fact it’s one of the very first films to have ever gone through that process. O Brother, Where Art Thou? – another Coens collaboration – is a visually aesthetic film that was heavily edited and altered in post-production using digital technology. It was quite interesting, and it worked really well, actually.” (Deakins to Vulture) “We built the hallway in Long Beach somewhere, and we basically built two, because we were going to burn one! That one was rigged with gas, recessed in the walls, and all the wallpaper was perforated so the gas would come through it. “The hallway shots were really tricky to do,” said Deakins, principally because the corridor had to go up in flames during the production. Time will never erase the image of a hell-sent John Goodman unleashing fiery hell and brimstone around the flame drenched hallway. ![]() Deakins focuses a lot of his time on the hallway to build up every claustrophobic minute and takes us into the psyche and feel of John Turturro’s Hollywood scribe. ![]() The above shot is just one of many hallway scenes that takes your breath away. It builds up a world of dread which converses with every wallpapered hallway and tiny room. Barton Fink, a hypnotic satire on Hollywood, had Deakins working with the Coens for the first time. ![]()
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