1917 is a World War I drama centered around the Western Front, with British and German trench networks snaking in unison along a French countryside hollowed out by the scars of battle. Viewers are taken on an intimate journey, following two British soldiers played by George MacKay and Dean-Charles Chapman. The pair are desperate to deliver a message to their allies before the next scheduled attack wave, but to get there in time means risking everything to cross No Man’s Land. If they don’t, they know there are 1600 lives at stake, the Germans waiting in ambush on the other side.
Written and directed by Oscar-winner Sam Mendes, this Story of a Messenger is inspired by the tale woven in his grandfather Alfred’s autobiography on the Battle of Poelcappelle. Mendes takes some creative liberties but holds true to the spirit of the day in telling his own story with 1917, the incredible film leading the way with Ten Oscar nominations, including: Best Picture, Writing (Original Screenplay), and Cinematography.
Mendes partnered with another Oscar-winner in cinematographer Roger Deakins to capture 1917 in the “One Shot” style, mirroring the work famously done by Hitchcock’s Rope in 1948, and more recently in 2014 with Alejandro Iñárritu’s Birdman. In doing so, Mendes and Deakins made life difficult for the production team, but they also knew going into it that the upside far outweighed the risks all the same. Proof positive, the final result is a breathtaking thing to witness high up on the silver screen, the accolades more than warranted for their efforts.
To make life just a little easier for the camera operators that had to weave in and out of battlefield lockstep with the lead characters, Deakins turned to ARRI and their Alexa large-format series to make the magic happen. As luck would have it, the company was able to fast track their new Mini LF, arriving just in time for the production, and that makes 1917 the first to feature the company’s latest exciting camera.
In an interview with ARRI, Deakins states:
I like cameras to be small and intimate. I like shooting with a small crew. I don’t want the technology and the presence of the film crew to overwhelm the scene.
Coupled with Arri’s Signature Prime lens series, the Mini LF brings with it a layer of unrivaled versatility that worked in perfect harmony down in the trenches, and that makes the combination battle-tested for virtually any project on the move.
For more information on how to rent the ARRI Alexa Mini LF or the full lineup of ARRI Signature Prime lenses, email [email protected], give us a call or stop in for a demo. We’d love to see you!
ARRI Interviews Roger Deakins:
