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Shots and Takes 
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Post Re: Shots and Takes
alright, some more odd ones -

little miss sunshine - in the bus. when paul dano is looking up at the sky. and the numerous curving freeways come. something very symbolic of the family, in my opinion. i loved that shot. i think that's right before the color-blindness scene. or right after it. not sure.

i had the second one in mind, but goddammit, i've forgotten it. :x hate it when that happens.


Sat May 02, 2009 7:48 am
Post Re: Shots and Takes
got it:
the last shot in rachel getting married - the one where the credits roll. with rachel sitting on the left of the screen. just love that shot, love that piece of music (which criminally wasn't on the soundtrack), everything about it. awesome to reflect on the movie.


Sat May 02, 2009 11:15 am
Post Re: Shots and Takes
Quote:
majoraphasia wrote:
Threeperf35 wrote:

The long "tracking back" shot in "Taxi Driver", down the stairs and out of the building. We are slowly passing all the guys killed during the bloodbath. It contains one dissolve, it's not one single tracking shot - but still awersome and a classic. The music by that lad who is my avatar :ugeek:


That is a great shot. From the moment De Niro puts his finger up to his head, pulls the trigger, to the time the shot ends... man oh man, that's the stuff.



Thanks a lot for aknowledging my humble input, it's just a matter of time anyway until someone comes up with the real stuff (like Scorsese, Hitch and Kubrick among a selected group of others - I am NOT the one to select that group).
Most of the guys here in this forum (includig yourself) know way more about the flicks than I do - and I consider myself a movie buff/fan/nut - and I am here to listen and learn, not to pretend I know s**t from shinola.


Last edited by Threeperf35 on Sat May 02, 2009 11:14 pm, edited 1 time in total.



Sat May 02, 2009 11:05 pm
Post Re: Shots and Takes
Threeperf35 wrote:
majoraphasia wrote:
Threeperf35 wrote:

The long "tracking back" shot in "Taxi Driver", down the stairs and out of the building. We are slowly passing all the guys killed during the bloodbath. It contains one dissolve, it's not one single tracking shot - but still awersome and a classic. The music by that lad who is my avatar :ugeek:


That is a great shot. From the moment De Niro puts his finger up to his head, pulls the trigger, to the time the shot ends... man oh man, that's the stuff.



Thanks a lot for aknowledging my humble input, it's just a matter of time anyway until someone comes up with the real stuff (like Scorsese, Hitch and Kubrick among a selected group of others - I am NOT the one to select that group).
Most of the guys here in this forum (includig yourself) know way more about the flicks than I do - and I consider myself a movie buff/fan/nut - and I am here to listen and learn, not to pretend I know s**t from shinola.

same here. only i dont even pretend. :lol:


Sat May 02, 2009 11:13 pm
Post Re: Shots and Takes
Quote:
same here. only i dont even pretend. :lol:


well that makes us two (at least...) :D


Sat May 02, 2009 11:20 pm
Post Re: Shots and Takes
Threeperf35 wrote:
Quote:
same here. only i dont even pretend. :lol:


well that makes us two (at least...) :D


Make that three. If it sounds like I know anything about movies it's entirely accidental. There are people that love technique, nuance, blah blah so forth, but I'm just a fairweather fan. At my loopiest I act like I know... but I don't.


Sun May 03, 2009 5:24 am
Post Re: Shots and Takes
Okay, this one's a really silly example, and it's corny, but it's one of my favorites nonetheless:

The tracking shot in High Anxiety where the camera breaks through the french doors at dinner. It wasn't as funny when Brooks did it again in his Robin Hood flick, but I think it really worked in High Anxiety.


Sun May 03, 2009 4:19 pm
Post Re: Shots and Takes
majoraphasia wrote:
That picture of Herrmann always reminds me of Tim Kazurinsky.

Image
Pictured (from the left): two random men and Tim Kazurinsky, who had nothing to do with Taxi Driver's score as he was preparing to play Officer Sweetchuck


Haha! Very similar, yep. Well for those who don't know (but of course you all do 8-) ) my avatar is a screen capture from "The Man Who Knew Too Much" (1956 version of course) DVD.

P.S. I hope I will never appear on a photo and referred to as a "random man" :lol:


Sun May 03, 2009 5:49 pm
Post Re: Shots and Takes
A shot that has always stood out for me is the sky collision scene in The Truman Show. Everything about it blows me away: the camerawork, Truman's reaction and subsequent breakdown, and the exquisite score. I've watched the movie countless times for that one scene.

Another scene that comes to mind (oddly from another Peter Weir film) is the
[Reveal] Spoiler:
suicide
scene in Dead Poets Society. The movie itself was mediocre, but that sequence was pure poetry.

http://www.youtube.com/watch?v=5HgGSG3waEE Truman Show scene (0:00-2:45)
http://www.youtube.com/watch?v=zCHrSHpXeKw&e DPS scene (2:17-7:37)

I wouldn't recommend watching these if you haven't seen the films; they'll pack much less of a punch.


Last edited by GunBehindTheToilet on Thu May 07, 2009 6:57 pm, edited 2 times in total.



Wed May 06, 2009 7:37 pm
Post Re: Shots and Takes
GunBehindTheToilet wrote:
A shot that has always stood out for me is the sky collision scene in The Truman Show. Everything about it blows me away: the camerawork, Truman's reaction and subsequent breakdown, and the exquisite score. I've watched the movie countless times for that one scene.

awesome call. definitely one to remember.


Wed May 06, 2009 11:24 pm
Post Re: Shots and Takes
I'm trying to remember it correctly, but in The Untouchables there's a long shot where we are essentially spying on Sean Connery in his flat and I think we eventually sneak in through a window (hand reaches out).

Oh and another...Tarantino's long take where Jules and Vincent are walking the hallway to the apartment in Pulp Fiction talking about foot massages and the "holiest of holies."

"Would you ever give a man a foot massage?"


Thu May 07, 2009 1:05 pm
Post Re: Shots and Takes
The shot in 'Fargo' when Marge leaves the house in the morning and the car won't start. The shot is held while Marge walks out and tries to start the car. She comes back in and tells Norm the Prowler needs a jump. Each character takes up about half the screen which symbolizes their healthy, equal relationship(however inverted their 'normal' man/woman dynamic is). There are so many from that movie, but that's my favorite.


Thu May 07, 2009 4:57 pm
Post Re: Shots and Takes
I have another one: the observatory scene in Manhattan. Amazing use of the black-and-white photography.

Manhattan as a whole has to be one of the best-shot films I've seen.


Fri May 08, 2009 12:15 pm
Post Re: Shots and Takes
In The Contender, the long shot that follows Gary Oldman and Christian Slater in from the steps outside all the way through the building--down a flight of stairs and everything--while they talk.

There are a couple I particularly love in Master and Commander. The final shot with the Surprise in the foreground and the Acheron in the distance is gorgeous. Also many of the shots during the storm chase are just beautifully done.


Wed May 13, 2009 7:58 am
Post Re: Shots and Takes
There Will Be Blood, the shot on the beach where DD Lewis' character is suspecting that the man who claims to be his brother is an imposter. LOVE that scene and love Lewis. What an amazing talent that guy has...he's heads and tails over most A-Listers alive today in my opinion...


Thu May 14, 2009 9:26 pm
Post Re: Shots and Takes
Although not a great flick, okay it maybe borderline terrible, in House of 1000 Corpses when Bill Mosley's character has the police officer on his knees in front of him with a gun to his head, Zombie pulls the scene out really slowly. There is no score and eventually the shot pulls out really wide to almost obscure the execution. The scene feels like it takes forever and you keep expecting the shot. It's so simple yet built so much tension and anticipation. I love that scene.


Tue May 19, 2009 6:43 am
Post Re: Shots and Takes
stiefmo wrote:
Although not a great flick, okay it maybe borderline terrible, in House of 1000 Corpses when Bill Mosley's character has the police officer on his knees in front of him with a gun to his head, Zombie pulls the scene out really slowly. There is no score and eventually the shot pulls out really wide to almost obscure the execution. The scene feels like it takes forever and you keep expecting the shot. It's so simple yet built so much tension and anticipation. I love that scene.

I loved that shot so much. The suspense was awesome.
That shot alone made me respect Rob Zombie at least a little bit.


Wed May 20, 2009 4:15 am
Post Re: Shots and Takes
Here's a couple more that I really like...

Kill Bill, the first one. There's a long tracking shot that follows the Bride through a club(?). The camera pans all over the place, up, down, through the ceiling, in front of the drummer, to a bathroom with a see through wall. Amazing work.

I also wanted to throw out Kubrick's Steadicam work in The Shining. It's very affecting (effecting?) whenever we're following the tricycle through the hotel.


Tue Feb 16, 2010 3:30 pm
Post Re: Shots and Takes
ram1312 wrote:
Here's a couple more that I really like...

Kill Bill, the first one. There's a long tracking shot that follows the Bride through a club(?). The camera pans all over the place, up, down, through the ceiling, in front of the drummer, to a bathroom with a see through wall. Amazing work.

I also wanted to throw out Kubrick's Steadicam work in The Shining. It's very affecting (effecting?) whenever we're following the tricycle through the hotel.


That'd be affecting, my good sir.

Has anyone seen Russian Ark? Allegedly the whole film's in one take.


Tue Feb 16, 2010 3:40 pm
Post Re: Shots and Takes
Pedro wrote:

Has anyone seen Russian Ark? Allegedly the whole film's in one take.


I have. It is.


Tue Feb 16, 2010 3:41 pm
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