We used a Steadicam, the Trinity, a cable wire, or hand-held with a stabilized camera.” We whittled them down to four different rigs and each had a specific use for a specific section of the film. Only after, did we start looking at all the ways we could shoot it and all the techniques we could use. What is it we want the audience to see? The trick was to make it feel like it was one camera move. ARRI accelerated through development of the Alexa Mini LF camera just so Deakins could use it to shoot “1917.”ĭeakins told IndieWire about the film, “When Sam and I first talked about it, we said we’re not going to think about why we’re doing it but how we’re doing it. “That is in large part the particular mixture of the rigs that Roger selected, and the fact that he himself was operating them remotely.”ĭeakins chose the Alexa Mini LF camera to film “1917” because he wanted a large-format image but needed a lighter weight camera so that he would have the flexibility to move through the production space as freely as possible to keep up the one shot perspective. “ has the movement of feet, breathing, and steps, a soft handheld feeling at times, very subtle, and other times the frame is very still and composed, so it never felt arid and bloodless, we never wanted it to feel like it was being controlled mechanically, and I think one of the things I feel most delighted about with the film is that Roger found a way to do that that was pleasing to both of us, and yet keep control over it which was remarkable,” Mendes told IndieWire. Last year, Mendes spoke to IndieWire about why Deakins was integral to the project. While “1917” is presented as one shot, it’s actually a series of several one-take shots of various lengths seamlessly edited together. The cast and crew would rehearse repeatedly so that when the natural light was right they could execute the filming of the scenes without error. The team decided to shoot when it was cloudy outside in order to maintain continuity, but that meant waiting around for hours in order for the sun to disappear and only having limited time when the natural lighting was just perfect. Prior to winning for the first time with “Blade Runner 2049,” Deakins was Oscar-nominated for the following titles: “The Shawshank Redemption,” “Fargo,” “Kundun,” “O Brother, Where Are Thou?,” “The Man Who Wasn’t There,” “No Country for Old Men,” “The Assassination of Jesse James by the Coward Robert Ford,” “The Reader,” “True Grit,” “Skyfall,” “Prisoners,” “Unbroken,” and “Sicario.” Several of these films are directed by Villeneuve and the Coen Brothers.Ģ024 Oscars: Best Supporting Actor Predictionsįor “1917,” Deakins worked closely with Mendes and editor Lee Smith to ensure the film moved as if it was one continuous take. Now Deakins has won two Oscars in two years. The DP earned 14 Oscar nominations over 23 years and lost every single time until “Blade Runner 2049” at the 2018 ceremony. Deakins’ “1917” victory is the cinematographer’s second Oscar win in two years following his prize for Denis Villeneuve’s “Blade Runner 2049.” Deakins, one of the most widely acclaimed cinematographers of his generation, spent decades waiting for his first Oscar. ![]() ![]() Roger Deakins has won the Academy Award for Best Cinematography thanks to his virtuoso work filming Sam Mendes’ “ 1917,” the World War I drama that is filmed to look like one single continuous take (similar to Alejandro González Iñárritu’s “Birdman,” which also won its cinematographer Emmanuel Lubezki the Oscar in 2015).
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