Favorite Long Takes & Why We Love 'Em...

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Favorite Long Takes & Why We Love 'Em...

Postby bastard_robo on Wed Aug 22, 2007 3:38 am

In the NEW War of the Worlds.. The scene with Cruise and the Kids in the mini van. The camera moves in and out of the van as the three try to get their bearings and argue over what to do. Great scene!
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Re: Favorite Long Takes & Why We Love 'Em...

Postby monorail77 on Wed Aug 22, 2007 11:48 am

bastard_robo wrote:In the NEW War of the Worlds.. The scene with Cruise and the Kids in the mini van. The camera moves in and out of the van as the three try to get their bearings and argue over what to do. Great scene!


erm... I AGREE!!

monorail77 wrote:There's a flashy, but pretty neat bit in Speilberg's WOTW, during the car chase/traffic jam where the camera goes in one window and out the other. Probably this involved computer trickery, but I liked the artistry of it. It was flashy and noticeable. It was supposed to be.



You descrobed it better :oops:
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Postby Chilli on Wed Aug 22, 2007 11:52 am

Snake Eyes had a really good one.
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Postby Zarles on Wed Aug 22, 2007 12:31 pm

tapehead wrote:Not sure - they often hide cuts in whip pans (of which there are several) or as subtle (motion tracked) wipes across background to foreground - like when the shot follows the bride into the cubicle. Also the cubicle shots - these either involve some very tricky lighting changes (so that you can see what the bride is up to inside) or are composites, which, in the strictest sense of the term, means they are no longer 'single takes'. Most of the time I'd rather just enjoy shots like this rather than deconstruct them too much, but I can't help but wonder.


You may be right about the whip pans and such, but as for going into the cubicle, I think it was done with lighting and some kind of translucent material on the outside of the cubicle that can only be seen through when lit correctly.
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Postby Fried Gold on Wed Aug 22, 2007 1:03 pm

Chilli wrote:Snake Eyes had a really good one.

Even though it's really fiveor so shots edited into one.
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Postby Chilli on Wed Aug 22, 2007 1:33 pm

Fried Gold wrote:
Chilli wrote:Snake Eyes had a really good one.

Even though it's really fiveor so shots edited into one.


True. Didn't Bonfire of The Vanities do something similar?
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Postby havocSchultz on Wed Aug 22, 2007 1:34 pm

Chilli wrote:
Fried Gold wrote:
Chilli wrote:Snake Eyes had a really good one.

Even though it's really fiveor so shots edited into one.


True. Didn't Bonfire of The Vanities do something similar?


Well...

They were both crappy movies...
So you could be thinking of that...
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Postby Chilli on Wed Aug 22, 2007 1:35 pm

havocSchultz wrote:
Chilli wrote:
Fried Gold wrote:
Chilli wrote:Snake Eyes had a really good one.

Even though it's really fiveor so shots edited into one.


True. Didn't Bonfire of The Vanities do something similar?


Well...

They were both crappy movies...
So you could be thinking of that...


I like the intent of Snake Eyes, but yeah, poor execution. Good technically mind.
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Postby havocSchultz on Wed Aug 22, 2007 1:40 pm

Chilli wrote:
I like the intent of (blank), but yeah, poor execution. Good technically mind.


That sums up a good portion of DePalma's work...

Especially most, to all of his current work...
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Postby Fried Gold on Wed Aug 22, 2007 2:32 pm

havocSchultz wrote:
Chilli wrote:
I like the intent of (blank), but yeah, poor execution. Good technically mind.


That sums up a good portion of DePalma's work...

Especially most, to all of his current work...

He's kinda like George Lucas a bit...most of his work is technically high quality, but it often leaves the human/emotional side a bit cold.
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Postby DinoDeLaurentiis on Wed Aug 22, 2007 2:34 pm

Hehehe... iffa ever there was a the time for a the Winslow to resurface as a the ALT, this would a be it, no?
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Postby monorail77 on Wed Aug 22, 2007 4:21 pm

Fried Gold wrote:
Chilli wrote:Snake Eyes had a really good one.

Even though it's really fiveor so shots edited into one.


This revelation reminded me of the story I heard recently about David Gilmour's guitar solo(s) from "Confortably Numb". Apparently he did a series of several takes and edited together the bits that he liked best. Also, apparently, this is technique he has used for many cuts. I say "apparently" because I heard this on my local radio. I haven't verified.

Regardless of veracity, it begs the question - does it matter? If the result is an apparent long, virtuoso guitar solo, or a long virtuoso shot in a movie, does the path to the result matter?

Answer is obvious - to some it does. To me, it doesn't. I'm impressed by the artistry, regardless of the trickery. But I'd love to hear why some feel that, unless its a"real" long take (or guitar solo), the accomplishment seems diminished.
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Postby minstrel on Wed Aug 22, 2007 4:50 pm

monorail77 wrote:This revelation reminded me of the story I heard recently about David Gilmour's guitar solo(s) from "Confortably Numb". Apparently he did a series of several takes and edited together the bits that he liked best. Also, apparently, this is technique he has used for many cuts. I say "apparently" because I heard this on my local radio. I haven't verified.



I'm a guitarist and a major Gilmour fan, and I've read many interviews with Gilmour. He openly discusses this technique in most of the interviews. He would improvise five or six solos, recorded on separate tracks. He'd listen to them, decide which parts of which he liked best, then just punch them into the final recorded version where he wanted them.

So it's verified. Gilmour is a master guitarist, and I don't think there's anything wrong with working that way. Nor do I think there's anything wrong with using cuts in assembling a movie sequence.
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Postby DinoDeLaurentiis on Wed Aug 22, 2007 4:52 pm

This alla seems alla so familiarto a the Dino, eh?
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Postby monorail77 on Wed Aug 22, 2007 5:14 pm

DinoDeLaurentiis wrote:This alla seems alla so familiarto a the Dino, eh?


Holy shirt. I coulda sworn I heard about this on the radio, but I am gettin' old, so maybe it was indeed the Zone where I heard the Gilmour thing.

Grover wrote: Oh, I am so embarrassed. Image :oops: :oops: :oops:
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Postby Bob Samonkey on Wed Aug 22, 2007 5:17 pm

monorail77 wrote:
Grover wrote: Oh, I am so embarrassed. Image :oops: :oops: :oops:


Holy crap I used to have that book... :shock:
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Postby Tyrone_Shoelaces on Thu Aug 23, 2007 4:42 am

The shot that immediately came to my mind was in House of 1000 Corpses when the cop is shot in the yard. It's a high wide shot of, I think, Otis holding a gun to the cop's head for what seems like ever. It makes the scene especially uncomfortable to watch, which I'm guessing was the point. People started to squirm in the theater.

There's a scene near the end of Down With Love where Renee Zellweger explains everything to Ewan McGregor and it's a one shot of her and it just goes. I'm not even sure she takes a moment to catch her breath.

Irreversible is a series of carefully choreographed long takes. Each segment was exactly the length of one roll of film, one take each.
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Postby DinoDeLaurentiis on Thu Aug 23, 2007 9:49 am

Tyrone_Shoelaces wrote:Irreversible is a series of carefully choreographed long takes. Each segment was exactly the length of one roll of film, one take each.


Ah yes, that's a the good one, eh paisan?
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Re: Favorite Long Takes & Why We Love 'Em...

Postby TheButcher on Fri Jun 03, 2016 2:54 am

The Spielberg Oner

Tony Zhou wrote:One overlooked aspect of Spielberg is that he's actually a stealth master of the long take.
From Duel to Tintin, for forty years, he has sneakily filmed many scenes in a single continuous shot.
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Re: Favorite Long Takes & Why We Love 'Em...

Postby Ribbons on Fri Jun 03, 2016 11:13 am

Not included in that video (unless I missed it): the car scene in War of the Worlds, which was one of the first examples of "stitching" shots together to create the illusion of a continuous take.

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Re: Favorite Long Takes & Why We Love 'Em...

Postby Peven on Fri Jun 03, 2016 5:21 pm

the opening shot in Catch 22
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