When cinematographer Roger Deakins opened the script for “1917,” he was greeted with the news that the entire, two-hour World War I epic would unfold as one continuous shot. “I thought, ‘Oh my God,…
,” he was greeted with the news that the entire, two-hour World War I epic would unfold as one continuous shot.Gimmick or not, it’s certainly the aspect of “” that’s generated the lion’s share of its publicity and inspired rhapsodic responses following a smattering of screenings for journalists and awards voters in November.
“It felt like the best way to give you a sense of all this happening in real time,” says Mendes of the singular perspective. “I wanted you to feel like you were there with the characters, breathing their every breath, walking in their footsteps. The best way to do that is not to cut away and give the audience a way out, as it were.
“The pressure was immense,” Mendes says. “There’d be times where you’d get seven minutes into the take and someone would trip or a bit of mud would get on the lens or an explosive device would be off and you can’t use it. The acting could be wonderful and everything else could be right and you’d have to start again.”
“He was very theatrical, very loquacious, extremely charismatic and a good storyteller with a big booming voice who was given to an Edwardian turn of phrase, and he held us completely spellbound,” says Mendes. “My heart opened when I heard those stories as a very young man, and they stayed with me.”
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