![]() He had been diagnosed with a brain tumour only four months previously. Deakin died, aged 63, in Mellis, Suffolk. ![]() Notebooks from the Roger Deakin Archive at the University of East Angliaĭeakin married Jenny Hind in 1973 with whom he had a son, Rufus, before the marriage was dissolved in 1982. A colony of swallows lived in the main chimney and for several years chickens and ducks shared his kitchen. The house was without central heating but housed an Aga and wide open fireplaces. The land included several shepherds huts and Deakin went on to build a cabin for his son Rufus. He dredged the moat, where he swam daily, planted woodland and bought more of the surrounding fields, where he grew hay and wild flowers. In 1968, he bought Walnut Tree Farm, a semi-ruined Elizabethan moated, wood-beamed farmhouse on the edge of Mellis Common in Suffolk, near Diss, which he rebuilt and developed over many years and where he lived until his death. Following this, he taught French and English at Diss Grammar School for three years. He was responsible for the National Coal Board slogan "Come home to a real fire". ĭeakin first worked in advertising as a copywriter and creative director for Colman Prentis and Varley, while living in Bayswater, London. Educated at The Haberdashers' Aske's Boys' School, an independent school, based at the time in Hampstead in north west London, followed by Peterhouse, University of Cambridge, Deakin read English, under the auspices of writer Kingsley Amis. His father was a railway clerk, from Walsall in the Midlands, who died when Deakin was 17. Patrick Barkham published a biography of Deakin in 2023 titled simply "The Swimmer".ĭeakin was born in Watford, Hertfordshire and he was an only child. ![]() Waterlog, the only book he published in his lifetime, topped the UK best seller charts and founded the wild swimming movement. He was a co-founder and trustee of Common Ground, the arts, culture and environment organisation. “A film like this comes up, and then there’s bits of technology that are just suited to it.Roger Stuart Deakin (11 February 1943 – 19 August 2006) was an English writer, documentary-maker and environmentalist. “I don’t use technology for the sake of it, but it often demands it,” he said. Scale models of production designer Dennis Gassner’s sets, built on a backlot at Shepperton Studios and on location up and down the UK, were used to choreograph performances and camera movements ahead of time, and on set rehearsed and rehearsed again.ĭeakins, who shot digitally, convinced ARRI to provide three prototype miniature large format Alexa cameras, ideal for their portability. “1917,” with its high-octane action, large cast and ever-changing mis-en-scene, opted to stitch together takes up to nine minutes long – and yes, though marketed as a one-shot film, “1917” does contain a single visible cut. Schipper filmed three takes and his favorite ended up on screen (and had the grace to bill cinematographer Sturla Brandth Grøvlen above him in the credits). True one-shot “Victoria” (2015) had Sebastian Schipper direct a bank heist around the streets of Berlin, his cast ad-libbing dialogue while the camera was passed between operators. Cinematographer Emmanuel Lubezki also obscured the frame to hide edits in Alexander Iñárritu’s “Birdman” (2014), panning to walls and objects or plunging into the shadows of New York alleyways, building on the illusion with dynamic handheld shots.Ī still from Sebastian Schipper's "Victoria" (2015), shot in one unbroken take in the early hours of the morning in Berlin. In Hitchock’s “Rope” (1948), cuts were masked by panning across characters’ dark clothing. “One-shot” filmmaking follows no fixed path, and directors before Mendes have approached it with varying degrees of fidelity. Failure isn’t an option, and the urgency of the situation demands that we follow them every step of the way. Mendes’ film – inspired by tales told by his grandfather, a messenger in World War I – tracks two British soldiers on a mission through No Man’s Land to deliver instructions to advancing troops in mortal peril. “1917” is a simple story complex in its storytelling. Why?’ But then I read it and it’s obvious.” “I thought it was a typo,” said cinematographer Roger Deakins, chuckling, before backtracking. ![]() “I did laugh out loud,” remembered editor Lee Smith. It was maybe not taken as seriously as he hoped. When Sam Mendes sent out the script for “1917,” his concept was firmly in place: a feature-length war film envisioned as a single shot in real time.
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