But this shoot had to work from the get-go, without exception.” “If a scene is a bit flabby or long-winded, you don’t panic because you have juxtapositions and cross-cutting and a thousand other ways to make corrections. To make sure it worked, Smith was tasked with assembling the film as it was shot–taking each day’s footage and presenting Mendes with a cut that included rough sound effects and temporary music. It was done partly to make sure the edits were seamless, but also so that he and Mendes could pick the take they wanted to use for the last shot of the day. The end of that take, after all, would determine exactly where the camera had to be at the start of the following day’s shooting. “Every day I would look at the dailies, with up to 39 takes of each scene, and some of those takes gave us very little flexibility,” he said. “We were buying our next day based on the decisions we were making.”Īlso Read: Watch Out, Oscars - '1917' Is Here, and It's the Real DealĪlthough the film looks like an uninterrupted shot, with only one obvious cut, it actually contains dozens of cuts. They were extremely variable in length.” (Mendes said his editor is mistaken, that the film contains an eight-and-a-half-minute shot.) “The shots lasted anywhere from 39 seconds to six minutes,” he said, “but not many of them were as long as six minutes. His edits, he added, were “on a sliding scale of complexity–some of them were effortless and some were very complicated. And on a daily basis, we didn’t quite know which ones were going to be which. Go Into the Trenches With “1917” Production Designer Dennis Gassner Inside Cinematographer Roger Deakins “1917” Chess Game Read more of TheWrap’s “1917” cover package here: “The trick is that you’ll never know, if I did my job.” Some were extremely difficult where on paper you wouldn’t have thought they would be, and others that looked tricky were surprisingly easy.”Īnd what were the hardest edits to pull off in the film? “I can’t tell you that,” he said with a laugh. “The Neighbors' Window,” was the winner of the 2020 live-action short film Oscar.How “1917” Composer Thomas Newman Avoided Adding “Gloom on Gloom” to WWI Film ScoreĪnd read more from the Oscar Nominations Preview issue here.He is the snowy Beatles mop behind the lens of an award-winning list- Fargo, The Shawshank Redemption, No Country for Old Men, A Beautiful Mind-and has worked with moviedom’s greats: Sam Mendes, Martin Scorsese, Ron Howard, Edward Zwick, and, in a near-25-year partnership, the Coen brothers. “I think they would all want me to say thank you Sam Mendes for the most wonderful experience, we'll never forget it ” Deakins said in his acceptance speech. The veteran Roger Deakins won the Oscar in cinematography. “I thank all the actors who are here with me today for bringing this film to life” Joon-ho recounted. The cherry on top for the South Korean film “Parasite” that it was named best picture, a first for a foreign-language film and making a historic victory. But this is very personal” Joon-ho added. “ We never write to represent our country. '' Parasite'' took the lion's share of Academy Awards as Bong Joon-ho won best director for “Parasite” “Parasite” won the best international feature Bong and Han Jin-won win best original screenplay for “Parasite”. “Writing a script is always such a lonely process” said Bong Joon-ho in his acceptance speech. CAIRO - 10 February 2020: Bong Joon-ho and Jin Won Han have won the best original screenplay award for “Parasite” becoming the first South Korean film to win an Oscar.
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