There were unique challenges in Sam Mendes’ vision for “1917.” The director wanted the movie to appear as if it were filmed in one continuous take. And that required months of meticulous planning. Mendes says the long prep time and unprecedented demands created an “unusually unified crew.” Here, he pays tribute to some of them.
Roger Deakins, cinematographer
“The choice to shoot in one shot was an emotional choice: How do we link the audience as closely as possible to the life of these two men? We said, ‘Let’s not talk about how to engineer the mechanics of it; in terms of emotion, where would the camera go?’ We had various rigs, and the decision of each was determined by the emotional content of the scene. Much of the filming was outdoors. There is one carefully constructed lighting sequence lit by Roger, in the nighttime town. The town is lit first by flares,...
Roger Deakins, cinematographer
“The choice to shoot in one shot was an emotional choice: How do we link the audience as closely as possible to the life of these two men? We said, ‘Let’s not talk about how to engineer the mechanics of it; in terms of emotion, where would the camera go?’ We had various rigs, and the decision of each was determined by the emotional content of the scene. Much of the filming was outdoors. There is one carefully constructed lighting sequence lit by Roger, in the nighttime town. The town is lit first by flares,...
- 12/19/2019
- by Tim Gray
- Variety Film + TV
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