Here we felt we earned it, especially because it was a bit of a dreamscape he was entering into. We thought instead of going down the steps, which we didn’t want to do, why doesn’t the camera just go past his POV, see the dead German soldier and then float through the window? We felt that was OK in that moment, but in the rest of the film, we didn’t want to detach the camera from the characters. So when he wakes up on the steps, he would have gone down the steps to go out. Sam and I agreed that we never wanted the camera to go back on itself we always wanted it to keep moving forward. Schofield arrives at this place and pauses because it’s extraordinarily primal, because fire is the essence of human survival.ĭeakins: The thing that is quite key to the scene was how we were going to go from the cut and open with Schofield waking up. The way to approach the design, from my experience, then, was through the art of war, and this midway point in the film clearly is a transcendent moment despite its horror. And that idea manifested itself, inch by inch, for three months of eight to 10 hour days, measuring, organizing and finding places we could do all this within England and Scotland. When I first read the script, I knew this wasn’t a story about the war. Gassner: I’ve learned that it takes a lot of discussions and analysis of imagery and narrative when designing a set. You wanted it to feel like this was hell but also somehow poetic. Schofield wakes up, but is he or isn’t he actually awake? Is he alive or dead? That’s what I think Sam was after with the fire and the flares going overhead. In this sequence, we talked a lot about how it is the one cut in the movie, but at that point, we wanted it to be almost hallucinatory, like a surreal nightmare. But they were a way for us to explore the kind of cinematic language we wanted to use, the kind of relationship between the camera and the actors. We did storyboard a helluva lot of it, but I don’t think many people saw the storyboards in the end. The World War I film ‘1917’ presents its action in seeming real time, with the fluid camera movements always connecting to the characters on a missionĭeakins: Sam and I spent several months just talking about how to visualize the film before anything else started happening. Movies Cinematographer Roger Deakins goes to battle with director Sam Mendes in ‘1917’
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