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1917 behind-the-scenes featurette confirms WWI thriller is shot in 'one continuous shot'


Universal Pictures has released a new behind-the-scenes featurette for their WWI thriller 1917, where director Sam Mendes confirms the film is shot in real time in ‘one continuous shot.’

The 54 year old director begins the featurette by explaining that the first World War began with soldiers on horseback and ended with tanks, stating that, ‘it’s the moment, you could argue, where modern war begins.’

The featurette also includes behind-the-scenes footage of George MacKay’s Schofield walking frantically through a trench, as Mendes confirms the film would be shot in real time.

One shot: Universal Pictures has released a new behind-the-scenes featurette for their WWI thriller 1917, where director Sam Mendes confirms the film is shot in real time in 'one continuous shot'

One shot: Universal Pictures has released a new behind-the-scenes featurette for their WWI thriller 1917, where director Sam Mendes confirms the film is shot in real time in ‘one continuous shot’

War: The 54 year old director begins the featurette by explaining that the first World War began with soldiers on horseback and ended with tanks, stating that, 'it's the moment, you could argue, where modern war begins'

War: The 54 year old director begins the featurette by explaining that the first World War began with soldiers on horseback and ended with tanks, stating that, ‘it’s the moment, you could argue, where modern war begins’

Schofield: The featurette also includes behind-the-scenes footage of George MacKay's Schofield walking frantically through a trench, as Mendes confirms the film would be shot in real time

Schofield: The featurette also includes behind-the-scenes footage of George MacKay’s Schofield walking frantically through a trench, as Mendes confirms the film would be shot in real time

‘From the very beginning, I felt this movie should be told in real time,’ Mendes said. ‘Every step of the journey, breathing every breath with these men, felt integral, and there’s no better way to tell this story than with one continuous shot.’

The featurette then includes footage of Schofield running parallel to the trench above ground, while soldiers file out all around him.  

Mendes enlisted Oscar-winning cinematographer Roger Deakins to shoot the film, who explained that he knew this would be a very ‘immersive’ movie.

Real time: 'From the very beginning, I felt this movie should be told in real time,' Mendes said. 'Every step of the journey, breathing every breath with these men, felt integral, and there's no better way to tell this story than with one continuous shot'

Real time: ‘From the very beginning, I felt this movie should be told in real time,’ Mendes said. ‘Every step of the journey, breathing every breath with these men, felt integral, and there’s no better way to tell this story than with one continuous shot’

Immersive: Mendes enlisted Oscar-winning cinematographer Roger Deakins to shoot the film, who explained that he knew this would be a very 'immersive' movie'

Immersive: Mendes enlisted Oscar-winning cinematographer Roger Deakins to shoot the film, who explained that he knew this would be a very ‘immersive’ movie’

Producer Pippa Harris added that the idea was to make the viewer feel like they were,’ in the trenches with these characters.’

The film follows two soldiers, George MacKay’s Schofield and Dean-Charles Chapman’s Blake, who are recruited to cross enemy lines to deliver a message.

The delivery of this message could save the lives of thousands of British soldiers, one of them being Blake’s own brother

Producer Pippa: Producer Pippa Harris added that the idea was to make the viewer feel like they were,' in the trenches with these characters'

Producer Pippa: Producer Pippa Harris added that the idea was to make the viewer feel like they were,’ in the trenches with these characters’

Soldiers: The film follows two soldiers, George MacKay's Schofield and Dean-Charles Chapman's Blake, who are recruited to cross enemy lines to deliver a message

Soldiers: The film follows two soldiers, George MacKay’s Schofield and Dean-Charles Chapman’s Blake, who are recruited to cross enemy lines to deliver a message

MacKay reveals that the film itself, ‘is a slice of time,’ while his co-star Chapman explains that his character Blake and MacKay’s Schofield are trying to ‘stop an attack.’

Krysty Wilson-Cairns, who co-wrote the screenplay with director Sam Mendes, says they will ‘save 1,600 lives’ by delivering this message in a ‘race against time.’ 

Mendes adds that with most films, there is always the possibility of cutting certain scenes out if they don’t work, but he says, ‘that’s not possible with this film.’ 

Stop and attack: MacKay reveals that the film itself, 'is a slice of time,' while his co-star Chapman explains that his character Blake and MacKay's Schofield are trying to 'stop an attack'

Stop and attack: MacKay reveals that the film itself, ‘is a slice of time,’ while his co-star Chapman explains that his character Blake and MacKay’s Schofield are trying to ‘stop an attack’

Race: Krysty Wilson-Cairns, who co-wrote the screenplay with director Sam Mendes, says they will 'save 1,600 lives' by delivering this message in a 'race against time'

Race: Krysty Wilson-Cairns, who co-wrote the screenplay with director Sam Mendes, says they will ‘save 1,600 lives’ by delivering this message in a ‘race against time’

All scenes: Mendes adds that with most films, there is always the possibility of cutting certain scenes out if they don't work, but he says, 'that's not possible with this film'

All scenes: Mendes adds that with most films, there is always the possibility of cutting certain scenes out if they don’t work, but he says, ‘that’s not possible with this film’

The director explains that the camera has to be ‘in sync’ with everything the actors are doing, adding when that is achieved it’s, ‘really exhilarating and beautiful.’

He also explained how the cameras would be passed along from rigs to operators constantly, and how the film, ‘does not take place in a series of interiors,’ adding it’s ‘endless exteriors’ which meant they were often at the whim of Mother Nature. 

There were days when the sun was out, and not behind the clouds like in previous days, so they had to rehearse and wait for the sun to be in the proper position.

In sync: The director explains that the camera has to be 'in sync' with everything the actors are doing, adding when that is achieved it's, 'really exhilarating and beautiful.'

In sync: The director explains that the camera has to be ‘in sync’ with everything the actors are doing, adding when that is achieved it’s, ‘really exhilarating and beautiful.’

Exterior: He also explained how the cameras would be passed along from rigs to operators constantly, and how the film, 'does not take place in a series of interiors,' adding it's 'endless exteriors' which meant they were often at the whim of Mother Nature

Exterior: He also explained how the cameras would be passed along from rigs to operators constantly, and how the film, ‘does not take place in a series of interiors,’ adding it’s ‘endless exteriors’ which meant they were often at the whim of Mother Nature

MacKay adds that every shot was like a ‘piece of theater’ and if something goes wrong, ‘you can’t stop, you just keep going.’

Mendes ends the featurette by explaining that he shot this film because he wanted viewers to, ‘understand how difficult it was for these men, and the nature of that is behind everything.’

1917 hits theaters on Christmas Day in limited release, before expanding nationwide on January 10, 2020. 

Theater: MacKay adds that every shot was like a 'piece of theater' and if something goes wrong, 'you can't stop, you just keep going'

Theater: MacKay adds that every shot was like a ‘piece of theater’ and if something goes wrong, ‘you can’t stop, you just keep going’

Difficult: Mendes ends the featurette by explaining that he shot this film because he wanted viewers to, 'understand how difficult it was for these men, and the nature of that is behind everything'

Difficult: Mendes ends the featurette by explaining that he shot this film because he wanted viewers to, ‘understand how difficult it was for these men, and the nature of that is behind everything’



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