They came to us from the set with all the best intention in the world. Lee Smith: “Again, these were highly planned. But once they got that down, they could get into the character that could actually be that character for eight minutes, or up to eight minutes, knowing that there wasn't going to be a cut. There was a lot of technical work just working out moves in relation to the camera. And a lot of time was spent watching the sky, waiting for a cloud to come along that was long enough that we could do a shot under.” We'd rehearse and rehearse and just wait. So that's how it went during the shoot when the sun was out. And then the second day, we got a lovely cloud cover and we shot two days work in one day. So that was a bit of an anxious moment on the first day of the shoot when there wasn't a cloud in the sky and we couldn't shoot anything. … But also, I mean, just in terms of the mood of the piece and technically matching from one shot to another, we had to shoot in cloud. Roger Deakins: “Well that was the hardest thing of the day exteriors. On lighting a film that takes place over the course of a day “In the end,” he says, “it's a story of bravery and doing the right thing and trying to save 1,600 men from slaughter.” Smith says the meticulous detail that went into making the war film was a sign of respect for the many people who lost their lives. Mendes dedicated the film to his grandfather, who was a messenger in the war. He says a lot of days were spent anxiously waiting for a cloud to pass by for them to shoot.Īt the heart of “1917” - starring George MacKay and Dean-Charles Chapman, among others - is a story about two scared young soldiers trying to deliver a message warning of a German attack during World War I. To match all the shots together, the crew could only film under cloud cover. “Really, it was about checking performance, talking to Sam on a daily basis, checking pacing, rhythms, the accumulative effect as you start putting the film together.”Ĭinematographer Roger Deakins, also an Oscar-winner, says nailing down the style and feel of the film, along with the actors’ rehearsals, took months of preparation. “My job was not just to put the two shots together, which I had to do in a big hurry, because each choice informed how the set up was for the next shot,” Smith says. Oscar-winning editor Lee Smith says his job was to take eight-minute scenes and perfectly transition them together to make it seem like one shot. Oscar-winning Sam Mendes’s epic war film “ 1917” was not shot in all one take, but it certainly feels like it. Facebook Email George MacKay as Schofield in "1917," the new epic from Oscar-winning filmmaker Sam Mendes.
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