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For any copyright, please send me a message. It doesn’t matter how perfectly everything is executed beforehand—one mistake, even at the very end, and it’s over. Time to start again. That’s what it was like making Sam Mendes’s new World War I drama 1917, which plays out as one long take, tracking two young soldiers as they race to deliver a lifesaving message that could prevent 1,600 troops from charging into a trap. The appearance of an epic single shot is a trick—there are hidden cuts, although the American Beauty director and Oscar-winning cinematographer Roger Deakins would prefer them to stay hidden—but still, most scenes played out in real time over the course of nine or 10 minutes. 1917 received a rapturous response from critics this past weekend as the Oscar hopeful held its first screenings, and actors George MacKay (of 11.22.63 and Captain Fantastic) and Dean-Charles Chapman (Tommen Baratheon on Game of Thrones) revealed the perils of performing the sequences that were carefully choreographed over months. A year of preparation by Deakins, Mendes, cowriter Krysty Wilson-Cairns, production designer Dennis Gassner, producer Pippa Harris, and the rest of the vast crew ultimately came down to two actors trudging through mud, crawling through barbed wire, or encountering a volatile variable—like a baby. The closer they got to the end of each sequence, the more intense the fear that they’d mess it up at the last moment and would have to start again. “It was very stressful, absolutely,” Chapman said at a post-screening Q&A hosted by Vanity Fair on Sunday. “We did months and months of rehearsals before we actually started shooting. Without that, we’d all be pretty lost.” Without revealing spoilers, he talked about one particularly emotional scene in the war film in which a character is wounded and there are complex visual effects. “On a scene like that, you’re praying to God that nothing would go wrong, whether it was the blood rig or a line slip,” he said. Otherwise, the long sequences gave the actors more control of their performances, since they couldn’t be cut up or reshaped in editing. “It was stressful, but I felt like this one-take thing is just an actor’s dream,” he said. “It really does allow you to throw yourself into it.” And some mistakes were allowed, as long as they could work it into the story naturally. “You let whatever happens happen,” Chapman said. “If something did go wrong, you just have to carry on.”Advertisement “All those little kind of [errors] could ruin a take, but there are also some little magic ones,” MacKay added. One example was what MacKay described as the “Big Run,” partially seen in the trailer for the film, in which he sprints down the front lines of a battlefield while explosi
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