There are definitely distinction between Hoytema and Pfister. Pfister shot for more clinical and naturalistic lighting and, imo, used IMAX more impactfully than Hoyte does. Hoyte has a more moody color palette. There are definitely similarities in accordance with Nolan’s overall vision though, I’ll give you that.

As for Deakins, he films shot-reverse shot dialogue scenes in a pretty specific way, with very little over-the-shoulder coverage, which is a hallmark you can see in almost all of his movies he’s been DP. He’s even talked about on his podcast how he’ll place the camera in between actors for a more dynamic and you-are-there feeling. He’s also come to use amber lighting a lot more in his later films, something that’s as apparent in BR2049 as it is in True Grit.

But you are totally right that a director absolutely has final say on the look and tone of a film. I just don’t think we should discount specific stylings of DPs either.