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Shots and Takes 
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Post Re: Shots and Takes
Patrick wrote:
Pedro wrote:

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


I have. It is.


Does it work?


Tue Feb 16, 2010 3:42 pm
Post Re: Shots and Takes
Good thread to bump.

I just mentioned it in another thread, but I love it in Superman when Superman drops Lois Lane off on her rooftop, following their evening flight. Superman takes off, flies out of the frame, and then--without cutting--the camera pans to the front door, where Clark is waiting.


Tue Feb 16, 2010 3:43 pm
Post Re: Shots and Takes
Pedro wrote:
Patrick wrote:
Pedro wrote:

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


I have. It is.


Does it work?


I think it did but I think it really helps if you know your Russian History to really get it....which I don't.


Tue Feb 16, 2010 3:47 pm
Post Re: Shots and Takes
Ken wrote:
Good thread to bump.

I just mentioned it in another thread, but I love it in Superman when Superman drops Lois Lane off on her rooftop, following their evening flight. Superman takes off, flies out of the frame, and then--without cutting--the camera pans to the front door, where Clark is waiting.


I read that Ken. Got me thinking about this thread.

I'm trying to think about recent shots that affected (thanks Pedro) me and one that comes to mind is the opening chapter of Inglourious Basterds, specifically when the camera tracks from the conversation at the table to beneath the floor. Raises the tension so much.


Tue Feb 16, 2010 3:51 pm
Post Re: Shots and Takes
My favorite shot in Inglourious Basterds was as follows: The German soldiers come in and execute presumably every member of the Dreyfuss family. Shoshanna escapes and runs from the house. The interior of the house is completely darkened but the door frame and window are both fully illuminated with the exterior light, as Shoshanna runs away. Phenominal shot.


Tue Feb 16, 2010 7:15 pm
Post Re: Shots and Takes
From IB:

The shot in the theater where the camera circles around everyone in the conversation. Normally, I hate it when directors use this shot. It's almost invariably because the director needs to get through the scene without it turning into talking heads, but they have no idea what to do with their camera. In Tarantino's hands, of course, there's a twist.

The camera lands on the character of Hans Landa at the crucial moment when Bridget Von Hammersmark lies to his face. He immediately retreats from the circle in a fit of uncontrollable giggling, and the camera breaks away to follow him. It's incredibly jarring, because we're trained as cinemagoers to expect the circling camera scene to play out in a certain way, and that expectation is shattered.


Tue Feb 16, 2010 8:33 pm
Post Re: Shots and Takes
ram1312 wrote:
I'll add Children of Men.

There are a lot of extended takes...the opening shot, the birth, but the one that I absolutely love is when they get ambushed on the drive.


I was just about to mention these. They're pretty damn impressive.

Another one that no one has mentioned yet is the single take hallway fight sequence in OLDBOY where the protagonist takes on a mob of thugs with just a hammer.

And speaking of fight scenes... there's that Thai movie THE PROTECTOR, which has Tony Jaa climbing a set of winding stairs and beating the shit out of everyone that crosses his path, and it's all done in one take as well.


Tue Feb 16, 2010 10:50 pm
Post Re: Shots and Takes
Dude...I'm going to add the Swingers homage to the Goodfellas Copacabana-in-through-the-kitchen-scene.

The fact that those dudes said...eff it...let's just try it and see if it works with this weak ass budget and pull it off have me admiring them.


Sat Feb 20, 2010 1:33 am
Post Re: Shots and Takes
I'll add...

The chase scene in DEATH SENTENCE that ends in a parking garage. That entire sequence was incredibly tense and well made, and included a pretty impressive single take shot. James Wan kicked all kinds of ass with that bit.


Sun Feb 21, 2010 9:38 pm
Post Re: Shots and Takes
The rat-Russian-roulette scene in Deerhunter was one of the most riveting movie shots I've ever had the pleasure watching. If you ever find yourself craving a great bit of acting amidst the milquetoast malaise that is so often passed off as box-office gold these days, pop Deerhunter in and watch that scene.


Tue Feb 23, 2010 4:44 pm
Post Re: Shots and Takes
We had a good conversation today about the Goodfellas scene over at this website.

I kind of led the proceedings, but the goal was to get some non-movie people (in other words, casual viewers) into the critical viewing mindset.


Tue Feb 23, 2010 8:38 pm
Post Re: Shots and Takes
Ken wrote:
We had a good conversation today about the Goodfellas scene over at this website.

I kind of led the proceedings, but the goal was to get some non-movie people (in other words, casual viewers) into the critical viewing mindset.


That was a great idea for a thread, Ken Lastnameunknown. The forum over at Freaksafari looks to be busy with all kinds of people, yes? Maybe you could be persuaded to steal your idea and port it over to this forum... hmmmm. I'll stop this post without any editorializing.


Wed Feb 24, 2010 1:50 am
Post Re: Shots and Takes
It's actually kind of hard for me to say specific scenes and more easier to say specific films and my favorite cinematographers.
Pretty much any films shot by Roger Deakins-He's done every Coen brothers film from Barton Fink on except Burn After Reading(He did shoot A Serious Man).
One shot comes to mind in The Assassination Of Jesse James By The Coward Robert Ford(also shot by Deakins) at the beginning where they rob the train.

A number of shots if not the majority from Magnolia and Punch-Drunk Love are great-by Robert Elswit.

Sven Nykvist was a great swedish cinematographer-The majority of his work was with Ingmar Bergman. There's to many examples of his brilliance-Hour Of The Wolf,Persona,Cries And Whispers,The Seventh Seal,The Virgin Spring,Shame etc.
See any of those films and you'll see.


Fri Feb 26, 2010 3:38 pm
Post Re: Shots and Takes
Ken wrote:
We had a good conversation today about the Goodfellas scene over at this website.
We're doing another one today, about the car chase from The French Connection. I kind of got carried away, nattering on about the editing.

majoraphasia wrote:
That was a great idea for a thread, Ken Lastnameunknown. The forum over at Freaksafari looks to be busy with all kinds of people, yes? Maybe you could be persuaded to steal your idea and port it over to this forum... hmmmm. I'll stop this post without any editorializing.
We could do this sort of discussion here. Depends on how many people would be interested, of course. I started the threads over at Freak Safari with the promise that at least a couple of other moderators would pitch in, and hopefully attract others to the conversation.


Mon Mar 01, 2010 3:43 pm
Post Re: Shots and Takes
Ken wrote:
majoraphasia wrote:
That was a great idea for a thread, Ken Lastnameunknown. The forum over at Freaksafari looks to be busy with all kinds of people, yes? Maybe you could be persuaded to steal your idea and port it over to this forum... hmmmm. I'll stop this post without any editorializing.
We could do this sort of discussion here. Depends on how many people would be interested, of course. I started the threads over at Freak Safari with the promise that at least a couple of other moderators would pitch in, and hopefully attract others to the conversation.


I'd certainly be interested in such discussions. I think that could get a lot of discussion going here. Excellent idea, Ken.


Tue Mar 02, 2010 11:56 am
Post Re: Shots and Takes
Then step one is to round up some potential candidates. It doesn't have to be a really fancy scene, but it helps. (Ebert used to host seminars during which Citizen Kane would be screened in its entirety, stopping to analyze every scene. He has apparently done this dozens of times.) So if anybody has any ideas, let's hear them.

Incidentally, the two threads over at Freak Safari both ended up spinning off to include scenes from other movies, which, in my opinion, is totally fine. No movie experience occurs in a vacuum, so there is value in bringing up those other areas. In The French Connection thread, for example, we ended up talking about a chase scene from the Gone In 60 Seconds remake--an example of when editing fails.


Tue Mar 02, 2010 8:46 pm
Post Re: Shots and Takes
Dude...I would seriously be interested in this...time and movie scene (have I seen it?) permitting.

How does it work Ken? Does someone suggest a scene or is it picked or...I don't know.


Tue Mar 02, 2010 9:14 pm
Post Re: Shots and Takes
I'm an administrator at Freak Safari, so I pick the scenes there. But I do consult the rest of the moderating staff for their opinions, lest it turn into the Ken Show. Goodfellas was my suggestion, and The French Connection was another admin's suggestion. We have a few more possible ideas on the back burner.

I have no position of authority here, so maybe we could do it more democratically. And if I like any of the picks here, I'll definitely bring them back to FS.


Tue Mar 02, 2010 9:18 pm
Post Re: Shots and Takes
There's always the first shot of Touch of Evil. Which brings to mind the first shot of The Player. Those are technical shots that don't have any particular emotional resonance.

There's also some of the (wonderful) "chapter breaks" from Breaking The Waves that have a lot of emotional resonance but very little technicality. Obvious technicality, that is.

My vote would be for any of those three (I can find a specific one from Breaking the Waves if need be.

To give the thread some momentum you may want something like the final shot of The Dark Knight before moving onto some different, less popular fare.


Wed Mar 03, 2010 12:50 am
Post Re: Shots and Takes
I haven't seen Breaking the Waves, but I think both Touch of Evil and The Player are excellent ideas. Like Ken alluded to, discussing one would likely lead to discussing both.

Another suggestion - the airplane scene in North By Northwest. It's famous, well-known, and a clinic in editing. Really, that could lead to discussing editing from Hitchcock in general. He has quite a few phenomenally edited scenes in his movies.

Major makes a good point about starting with something more mainstream. That would probably generate more initial enthusiasm from other posters. What about something like Up? We could discuss the montage at the beginning and try to determine what makes it so emotionally affecting.


Wed Mar 03, 2010 9:24 am
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