Eritrea – Behind Enemy Lines, depicted the Eritrean War of Independence. He also shot anthropological documentaries in India and Sudan. During the late 1970s and early 1980s, Deakins was involved in a number of music-related projects, including Blue Suede Shoes, a music documentary about the British rockabilly scene, the concert film Van Morrison in Ireland, and the Ray Davies musical film Return to Waterloo. He also made short music videos for Herbie Hancock, Eric Clapton, Marvin Gaye, Tracey Ullman, Madness, Level 42 and Meat Loaf. Feature films Deakins's first dramatic project was a miniseries titled Wolcott, about a black detective working in the East End of London. The camerawork of the miniseries impressed his former schoolmate and frequent collaborator Michael Radford, who enlisted Deakins for their first dramatic feature, the 1983 film Another Time, Another Place. The film screened at the Cannes Film Festival and was well-received; subsequently, Deakins and Radford teamed up again on Nineteen Eighty-Four (1984), based upon George Orwell's novel of the same name. The film was praised for its bold, unusual palette, which Deakins achieved through a process known as bleach bypass, where the silver is retained in the print, creating a washed-out look that reflected Orwell's bleak vision. Deakins was the first Western cinematographer to use the technique, which has since become highly influential and could be seen in films such as Seven (1995) and Saving Private Ryan (1998). Throughout the 1980s, Deakins continued working in Britain, serving as cinematographer for films including Defence of the Realm (1986), Sid and Nancy (1986), White Mischief (1987; his third feature film with Radford), Stormy Monday (1988) and Pascali's Island (1988). In 1991, Deakins began his long-term collaboration with the Coen brothers, starting with the film Barton Fink. The Coens had been impressed with Deakins's work, and reached out to him after their previous collaborator Barry Sonnenfeld left to pursue a career in directing. The film won the Coens' the Festival de Cannes 1991 Palme d'Or and Best Director awards (and John Turturro the award for Best Actor), and earned Deakins best cinematography awards from New York, Chicago and Los Angeles film critics circles. In 1994, the year Deakins was admitted to the American Society of Cinematographers, he served as cinematographer for The Shawshank Redemption, which earned him his first Academy Award nomination for Best Cinematography, and his first American Society of Cinematographers Award. He received two further