Some of them you don't need to do anything.
“We didn't want to every time do somebody walking up to the camera, and walking away from it. “For the most part it was in-camera, and obviously we paid specific attention to the end of the A shot and the beginning of the B shot to make sure that we had those plans,” continued Deakins. Some of those breaks will be “tweaked” digitally to appear continuous, but others don’t even need that. I mean, it was clever.” But the 1917 filmmakers wanted to avoid drawing any attention to the inevitable breaks between individual shots. “Then you'd cut and the character walks away from camera. “Somebody would walk towards the camera and it would wipe on the black of somebody walking,” said Deakins. Play In Rope, Hitchcock would have to find ways to stop filming so his cameraman could change the film in the camera. That's why it's a dance.” Watch the second trailer for 1917: And once you've made the decision, it's amazing how the actors adapt, knowing, ‘O.K., I'm not on camera here so I'm going to wait a beat until I am on camera and then deliver this.’ And they do that instinctively too. Those things have to be done on the day that you would normally be doing in the editing room. So it forces you to make that fundamental editorial decision, which is actually, ‘I'm going to look away from who's speaking to the person who's listening’ or whatever. “And it's not always the person talking who you want to have a counterpoint to that. “‘I don't think the audience needs to see that.
Since Mendes couldn’t cut to, say, reaction shots during dialogue scenes, he began to realize that so much of the choice of how you shoot something is about what you're willing to allow to not be seen as much as to be seen. Iñárritu Victoria (2015) - Directed by Sebastian Schipper The environment is built and constructed around what the scenes needs to do.” Noteworthy One Shot Films Rope (1948) - Directed by Alfred Hitchcock Timecode (2000) - Directed by Mike Figgis Russian Ark (2002) - Directed by Alexander Sokurov Birdman (2014) - Directed by Alejandro G. That the set's the right length, not too long, not too short. And then you try and hold it there and you make sure that there's nothing that will change that rhythm. “Use every instinct that you've got available to you to get it exactly right on your terms. “You rehearse until you get the rhythm exactly as you want it,” said Mendes. This led to extensive planning, tracing out every step a character would take, how the dialogue and blocking would be timed to those steps, where the character would wind up by the end of a given line, how the rest of the scene would be playing in the background during that precise timing, and so on. But here the rhythm had to be exactly right.” Roger Deakins on the set of 1917.įor a film with no cuts, you can’t fall back on the edit.
#ROGER DEAKINS SHOTS MOVIE#
The one thing you never think about when you're making a movie is rhythm, because you impose a rhythm in your cut. “Always, even if you're not consciously thinking that, you know you have that option so it doesn't concern you. “You’re always moving in a more conventional way, thinking, ‘I'm going to cut this scene or I could cut that first or I could start halfway through,’” he said. And that's the scary part.” The filmmakers always had to check themselves to not think about 1917 as a regular film. And so you have to stop on the day and you have to rethink it. I was happy to be there with them and I was loving the stylistic device of not cutting, but it's used in a completely different end to what we're doing.” Imposing Rhythm Without Editing“The thing that's not easy is you're shooting a scene and you think, ‘Oh s#!t, it just doesn't work,’” said Mendes. But Birdman was inspiring in the sense that I thought I was happy to be on the ride. You're always moving through new land, new locations, new places.
You know, totally different kind of movie, going through interiors and in and out of rooms and often revisiting the same places within the shot. But when you see Birdman, you think that works.
#ROGER DEAKINS SHOTS HOW TO#
He knows how to build tension with the minimum of means, a great economy of means, but always within a cut,” said the director. “You think there is probably the greatest natural editor in the history of movies, and he made a movie with no cuts, but it's just not what he did. Mendes points out that for someone like Hitchcock, the approach was probably just not the right fit.
0 kommentar(er)
