Episode 18 - Sam Mendes (June 14) (5 replies)
Team Deakins has a fun, free flowing conversation with frequent collaborator, friend, and the Oscar and Tony Award winning Director: Sam Mendes. Spending 15 years as a Theatre Director, Sam made his foray into filmmaking with his award winning debut of American Beauty. He went on to direct a total of nine films in the ensuing years, including; Road to Perdition, Jarhead, Skyfall, Spectre and 1917. Sam discusses his journey from theatre to film, the differences between the two roles and what he sees as the most important aspects of being a Director. We discuss elements of story, how editing builds tension, and why the idea of a one shot film is much more than meets the eye. A true masterclass between two cinema legends.
Please post further discussion and comments below.
This and the Lee Kline episode were very interesting and Mendes' description of story rhythm in 1917 and his giving the audience breathing space between action sequences was also interesting.
I am really enjoying this series of podcasts, so thanks to you both for doing this!
It was interesting to hear Sam speak so candidly about what he thought worked and didn't work in his own films. If he hadn't been talking to his collaborators and friends I doubt any interviewer could have elicited that.
Thanks so much for this series, which has been a valuable education and highly entertaining. I was re-listening to the Sam Mendes episode (on my run this morning) and heard mention of a "double cut". I can't find a definition of this online or in any of the many filmmaking books I own. Please could someone enlighten me.
Question: Did Mr Mendes have final cut on 1917 or was the issue negated by the nature of the films structure?
(just finished yesterday all the current episodes of the podcast, My very Sincere thanks for this, absolute revelation, stunning, its almost a film school in its own right)
I loved this episode but one thing I’d love someone to ask Sam is how different he thinks his career would have been he he directed Mojo as his first film. I’m not aware of him talking about it publicly but I’d love to know how he would have approached the text and whether he would have done what Peter Hall did with Pinter’s texts that ended up on screen and stayed relatively faithful to the original concept rather than expanding it outwards and adding scenes, as often happens with plays when they are expanded for the film versions.