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In a very unique sort of way, when it's this tiny, hand—held device that you can just shift in no time. mm. would that interest you? 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, s...

With technology and, you know, digital technology and effects and superheroes and it's wonderful, i'm not decrying that, but where's the other side of it? you know, i guess, 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, l...

Like that, it doesn't really interest me. i mean, some people do it, 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 ...

Gassner, the production designer, were determined to do as much in camera as possible. so even though the backgrounds had changed, in some very specific scenes, there's a lot of manipulation, like the, um, the, er, the threesome, with the two girls and ryan, you know, and they're interchanging and becoming one and splitting. well, how are you going to do that? that's, obviously, you use the technology that's available to tell a story, in hopefully an interesting and, you know, perceptive way. but, um... so you're not, you're not anti—technology, clearly. no, not at all. yeah. i mean, no, bec...

Now on bbc news, hardtalk�*s stephen sackur speaks to the acclaimed british cinematographer sir roger deakins. 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 busine...