1917‘s seemingly death-defying camera work from master cinematographer (and recent Oscar winner) Roger Deakins is extraordinary as it moves through varying terrains in the guise of a single take, with no place to hide lights (he’s working in natural light most of the time). The result is a powerful antiwar statement couched in a tense and emotionally gripping work, as the camera seems to hover around the action as both a ghostly observer and a character in the trenches with the film’s leads.
1917 comes courtesy of director Sam Mendes (American Beauty, Skyfall, Revolutionary Road) and his co-writer (and rising talent) Krysty Wilson-Cairns, the Penny Dreadful veteran who has also co-written Edgar Wright’s next movie, the horror-thriller Last Night in Soho. /Film spoke with Mendes and Wilson-Cairns in Chicago recently to discuss the intricate process of mapping out the geographic journey of the movie’s two lead actors and how that impacted every other phase of the production, the emotional immediacy of making a film appear to occur in real time, and why the project was a deeply personal one for Mendes.
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1917 is a masterful piece of craftsmanship. Sam Mendes‘ one-shot epic takes a forward-thinking approach to its depiction of World War I, which is an almost apocalyptic vision. It’s a rare vision, too, in which the camerawork and technique are noticeable yet don’t detract from the experience. To write the ambitious war movie, Mendes called Krysty Wilson-Cairns, who was a writer on the Mendes-produced Penny Dreadful and recently co-wrote Edgar Wright’s next film, Last Night in Soho.
Over the last few years, Mendes and Wilson-Cairns collaborated and wrote a handful of scripts together, but for one reason or another, they never became movies. After what they’ve accomplished with 1917, we can only imagine what they could’ve done together sooner. They aimed high and didn’t miss their target on this one. Recently, Wilson-Cairns told us about the earliest ideas for 1917, influential war poetry, and the advantages of writing a one-shot movie. [Warning: this Q&A contains spoilers.]
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Whenever there’s a new Edgar Wright movie on the way, everyone should be excited. And while we don’t know much about his forthcoming thriller Last Night in Soho, we’re happy to hear that Focus Features will be releasing the film in the fall of 2020. Find out what we know about Edgar Wright’s latest movie below. Read More »
The Black List 2014 has been released. The annual list is compiled with a poll of over 250 development executives and high-level assistants, and contains a ranking of the hot screenplays making the rounds in Hollywoodland, which were written in, or are somehow uniquely associated with, 2014 and will not be released in theaters during this calendar year. Basically, The Black List is a list of the hottest projects in Hollywood that you haven’t heard of yet.
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What will Darren Aronofsky do to follow Noah? What does one do after releasing the film they’ve been dreaming about, in some form, for much of their life? The writer/director has a couple things developing, such as an adaptation of Margaret Atwood’s MaddAddam for HBO. Now he’s connected to The Good Nurse movie adaptation, based on the novel by Charles Graeber which follows the true story of a nurse who was also a nightmarishly prolific serial killer, implicated in the deaths of hundreds of people.
Update: Aronofsky’s reps say that his company Protozoa Pictures is developing the project, but that Aronofsky is not currently attached to direct in any formal manner. That could change — given that this is at Protozoa he could take up the project — but as of now the situation is that Darren Aronofsky’s Protozoa Pictures is attached to produce The Good Nurse.
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