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Automatic TRANSCRIPT

A gasp inducing feet of cinematic immersion for director. Sam Mendes Mendes grenades. Movie nineteen seventeen dispatches two British soldiers on a do or die mission across the battle lines and house gates of World War capturing every every step every spine tingling explosion when you walk. She's filming not just watching. Genuinely are experiencing a war film like few in recent memory the second due to attack the line shortly often dawn tomorrow nine hundred seventeen is wage at a time before nations fought with missiles fighter jets. It was unlike any other film I've ever made and and and ever will make probably it's images depicting brutal combat from one hundred years ago as soldiers and their horses came. Face to face with with weaponry are story that you can get lost in can get thrilled by its thrills. Gunfire and perilous adventures made all the more mesmerized because the film appears to consist of a single continuous shot Herculean undertaking conjured up by the mind minded Mendez. What made it the right idea for this movie? It seemed a natural thing to not have any cuts. And that's how I prefer to describe it. A movie with no cuts net rather than one shot movie experiencing every second passing in what is effectively a race against time to aw a century old conflict captured using twenty first century technology cameras carried through muck and debris strategically mounted on techno cranes cream cars and motorcycles. Moving in choreographed chaotic symphony by feel in some way it requires is a different level of emotional investment. You feel okay. Well if I'm here with these guys I'm just GonNa have to live with that and so it seemed to me to put the audience in the shoes of the characters were they. They literally don't know who's telling the truth and what the reality is. What's around the next corner because there's no way of finding out of than going? I got the heart of the film buoyed by solid performances from its to lead roles betrayed not by a-list actors up and comers George Mackay and Dean Charles Chapman Films. You know it's not ah just about the first World War. It's about the human experience what is to be human and I think the context of war is one in which humans are stretched physically and emotionally the absolute limits with such long takes for every shot the cast and crew rehearsed for months before filming. You understand that the focus puller. He's expected to get. Ah every time. The boom operators the cameraman capturing this if his. Timing's out just by a hair. That takes unusable. I think Sam just did a really good job in Mike and Phil let pressure and then a why everybody had pressure even the camera department. The sound caused by out there on Lou. Choreographed down on his weathers waited a carefully. Calculated dance dance but for nine hundred Seventeen Mendez was also drawing on personal history dark tales of the great war as told to him. Once by his grandfather Alfred Menendez it was the and my cousins pestering him thinking we were going to hear stories of heroism and bravery in and you know how he won his medals and it was going to be cool and instead he turned around and and told stories of absolute chaos World War One was supposed to be the war to end all wars golfing dozens of countries and costing millions of lives lives at such a massive scale filmmakers had to construct a world bill to mythic proportions. It built the end over mile of trenches and we filled them with thousands the people and all built around just the actors just these two camera. Operators waded through treacherous terrain. All under the watchful eye of Academy Award winning cinematographer Roger Deakins matching marking his fourth collaboration with Manda every trench had to be measured the exact length every orchard of Reform Foam House. Every town street had to be exactly the right length of the scene because there was no cutting distance jumping