. For their work on the epic World War I drama, Deakins earned his 15th Oscar cinematography nomination and Gassner his seventh for production design . The pair recently spoke toWhen you first read the script for"How are we going to do it?" It's a big ask, a big story to tell — actually it's a simple story to tell, but in a big way. [With] every movie with Sam, it's like you jump off into the abyss, and as you're following, you just figure it out.
When you were scouting, you visited the locations in France where the actual battles were fought. What emotions did you feel in those places, and what impressions did you take away?It was really interesting because we went to the Somme and Vimy. And there was a young woman who was guiding us into all of these areas, and I detected a hint of an accent. I said, "I have a suspicion that you may be Canadian." And she said, "Yes, I am, and this is where the Canadian battle took place.
Roger, I understand that each day, editor Lee Smith would assemble a cut from the dailies so you and Sam could choose the last hero take of the day, and that would determine exactly where the camera would begin the next day. So decisions had to be made daily that would normally be played with in post.We knew how we were breaking the one shot down into sections, so we knew where we thought one shot was going to end and the next one was going to begin. We knew where the match point was.
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Source: Variety - 🏆 108. / 63 Read more »
Source: Variety - 🏆 108. / 63 Read more »