On 1917, production designer Dennis Gassner faced the monumental challenge of crafting epic World War I sets for a film that would appear as one take. Based on stories told to director Sam Mendes b…
Even with extensive rehearsals and a thorough pre-production process, Gassner says the shoot was a race against time, much like the one that Schofield and Blake themselves experience. “[It’s] amazing that you actually get to see a film that is made like this,” the production designer says, “and I think nobody will ever get to do something like this again.”
I’m saying that flippantly, because it was not easy to do. Every step you took meant there was another challenge to face. But it’s my fifth film with Sam, and my ninth with Roger [Deakins, cinematographer], and we have a particular kind of shorthand of cutting to solving the problem. The problems were infinite, and daunting in every way, but we did it. I think the amount of experience that all of us had had together was the only reason it got done.
We tried to find spaces that could allow us to do exactly what we needed, and it was a long process of finding all these elements. Then, you take all these elements and start to piece them together in drawings and models, and all of these things start to come together eventually. All that work of planning and stitching together allows us to then say, “Here’s our plan. Here’s our blend points, how the blend points work, and transitions of camera.
DEADLINE: When you say you worked out the choreography for the film inch by inch, what exactly did that look like? What kinds of steps did you go through to perfect the timing of each shot?: You start out in a field that’s not even going to be the field that you’re going to be doing the digging in, just to get the timing right. Then, you have to find the place that you’re actually going to do that, and then you have to do it again to make sure it’s right.
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