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In your film—making life, the genres have shifted and evolved, but also the technology has really shifted and evolved... yeah. ..and you just alluded to it, with much more computer—generated imagery... yeah. ..and virtual reality, and now they're building these extraordinary, i think, called led walls. yeah, yeah. you can do more and more shooting, not on location, which you're famous for — scouting your locations, lighting them so carefully. right. now, you could conceivably make what looked like a location—based movie, entirely fake, entirely in a led wall environment. right. could y...

And it looks pretty amazing. but i think you're missing something, it's missing something. i think the actors... what are you missing? well, i think the actors are missing something to... ..relate to, in a way. i think you're missing the environment everybody�*s working in that feels like part of the story. i don't know. i can't explain myself very well but there's something about being on location and being in a real environment. it's like on 1917. sam was determined to do as much in camera as possible. sure, there's some effects work. yeah. i mean, if you've got that technology, why not us...

I, er, ido. i love films that... i love films in which the main characters have kind of been passed by by the world. now, whether that's, like, "assassination ofjesse james" and the outlaws bypassed by the world moving on, or whatever, but i feel like that, yeah. you know, i'm a creature of the time i grew up in, and the films i loved as a teenager, you know, and i don't see many of them now. i don't see a progression. you know, it's wonderful, in britain, i grew up watching ken loach movies. ken loach is still making those films. but where are the other people? where... you know, it's not, th...

Now on bbc news, hardtalk. welcome to hardtalk, i'm stephen sackur, and this is soho in london, where the uk film industry does its deal—making and much of its post—production. the brits are still big players in the global film industry, and none more so than my guest today, sir roger deakins. he's made a host of brilliant movies, he's won two oscars but his industry is changing, thanks to technology, to cgi, even to this thing — the smartphone and its camera. so how does he see the future of the film business?

No, it absolutely does, i mean, i've shot sections of films on a phone anyway. have you? but, i mean, now, you look at alexander nanau, who did, er, "collective", shooting with a tiny little camera, was doing most of it himself, he could be in the room with, you know, the subjects, the journalist, and the minister, and he could just almost be invisible and allow things to play out and take his time in shooting that. you could never do that with a film camera, so that that sort of technology has opened up all sorts of possibilities and so has the digital technology in post and the idea of creat...