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“1917:” Every Kind of Shot Used (Screenrant)

Traditional filmmaking language was adapted, adjusted and evolved

1917 is the most impressive technical achievement of the year,” writes Jim Hunter at Screenrant, “While [cinematographer Roger] Deakins and [director Sam] Mendes have been relatively secretive about how they pulled off the film’s impressive technical accomplishment, examining the types of shots used and how they serve the story can shed light on 1917’s remarkable success. Here are all the kinds of shots used, including how the filmmakers got around using typical shots that would have required cuts.”

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Why This Matters
This carefully details how traditional filmmaking language was adapted, adjusted and evolved to accommodate the “real-time, continuous shot” 1917.

Read more: Why It Was All Worth It: Watch These Scenes from 1917

Read more: 1917: How Sam Mendes and Roger Deakins Made Their “One-Shot” War Epic

Read more: A Brief History of “One-Shot” Films (No Film School)

Read more: 1917 Isn’t the First (Supposedly) One-Shot Film. Here’s a Timeline. (The New York Times)

1917 was produced using two separate scripts, one for the dialogue and story points, and a second one noting precise camera moves, Adam Chitwood observes in Collider. “Granted, this is a feat that has been attempted before, as recently as Alejandro Gonzalez Iñárritu’s 2015 Best Picture winner Birdman, for which cinematographer Emmanuel Lubezki won the Oscar. But that movie took place in a theater. With 1917, Deakins and Mendes are pulling this off with exteriors, special effects, etc. It sounds impossible, but if anyone can do it — and do it with an eye towards beauty — it’s Deakins.”

Read more: Literally in the Trenches: Analyzing the Camerawork of 1917