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7 amazing movie scenes shot in a single shot

Some movie scenes are relatively easy to stage and film. Others require immense planning and precision – and nothing more than these sequences, all filmed in a single uninterrupted take.

The long time can be a tricky beast to master, but the end result, if handled with care, can be magnificent, as shown in the following seven films.

We love it when a plan comes together.

. 1 Creed

After seeing this magnetic two-round boxing match in Rocky by Ryan Coogler Adonis Creed of Michael B. Jordan pushes Leo Sporino (Gabe Rosado) to the ground You wonder why every second movie fight in the history of cinema has not been treated with the single-take format.

The camera revolves around the two men in combat, drifts in, out and around, and the result is a dizzying, exhausting, unyielding and claustrophobic display, everything imagined in boxing, after that to feel.

Speaking to the New York Times about his decision to capture the scene this way, Coogler said, "This scene represents the boxer / coach relationship, the parental relationship, you can work with somebody, but if the bell is ringing, they are all alone, so we wanted to record this in an uninterrupted setting to represent it.

"It took a lot of memorizing, choreography, and body control. And since this scene was shot in an uninterrupted shot, it resembled a monologue in the lines that an actor must learn.

"Michael had to learn different strokes and different steps to make sure he was in the right place at the right time."

. 2 The Shining

When a child runs around on a tricycle, it should not straighten up the hair, but Stanley Kubrick's horror of the 1

980s is based on Stephen King's eponymous novel . does just that by turning an otherwise innocent moment into something truly disturbing.

The camera follows five-year-old Danny Torrance (Danny Lloyd) as he drives through the rooms and corridors of the Overlook Hotel. The iconic scene is initially completely silent except for the sounds of his tricycle, which turns hectically over the polished wood floor and is occasionally broken by a carpet or carpet.

The camera does not once deflect Danny's back, giving the scene a whole new sense of urgency, and as the score creeps in, she switches from a barely buzzing hum to haunting, shrill strings.

We do not have to tell you what he finally comes across.

. 3 Goodfellas

Any movie lover will know immediately what you mean when you say the words, "Copa shot."

Probably the most iconic one-shot sequence in the history of cinema, this phrase refers to the moment Goodfellas as gangster Henry Hill (Ray Liotta) his hand on the small back of Lorraine Braccos (Karen Hill) and she together with you, the audience, into the depths of the New York nightclub Copacabana leads the back door.

The two weave their way through the building and greet employees and familiar faces as they walk into the hustle and bustle of the kitchen before finally sitting at a table.

It's an incredibly flowing, seamless scene. So it may surprise you to hear that it only took half a day to shoot, and only eight takes were needed to get it right.

"I think the first two minutes of this shot will be terrible," said starricam operator Larry McConkey, who worked on the film, to the filmmaker magazine . "They will never use it, they will make it hell."

  Robert De Niro, Ray Liotta, Joe Pesci, Goodfellas 1990

Warner Bros. Rex Shutterstock

"There are technical ones Problems when trying to do an uncut shot. You want the space and you want the tightness in the same attitude, but how do you connect the two? Just wait while the camera is running? You can not do that.

"So basically we had to invent a camera way to edit it in the recording, so we structured the events within the setting that covered the limitations that were not able to reduce the tempo and timing . "

These" events "were the many interactions Henry shares with the people he greets and rolls by.

"What I did not expect, and what I found out later, was that all of these [interactions] were ultimately the heart and soul of the shot," he continued. "Because Ray included his character in those moments. These moments were actually what the recording was about instead of being tricks or artifacts."

"It's quite remarkable when I look at the shot now and it looks perfect … Steadicam was really a powerful way to tell a story and it was not just a technical feat, it also had value and value. It seemed to resonate with the people, not just the filmmakers. That was a revelation for me.

4. Reconciliation

Christopher Nolan received much praise for his portrayal of Dunkirk in his eponymous feature film, but before that there was Atonement, Joe Wright 's adaptation of Ian McEwan's novel.

The film plays both before and during and after World War II, with the destabilizing effects of the conflict visible to all, especially the families and lovers who were torn apart – and it really would not A film about World War II without the involvement of Dunkerque.

You, the spectator, are brought to the beach, as is the realism of the moment, for the camera casts a glance at the mass of men who are without ghosts Horses were shot, the sky sucked the paint out, and the air was suffocated with smoke while soldiers tend to make a fire to keep warm and spend time. There is little joy to find.

It's an impressive ad. Every little detail is captured in a five-minute single shot that draws your attention. As powerful as the end result is, it should never be so.

"It was thought out of necessity," Wright told the Chicago Sun-Times . "We had a day with the extras and then with the little problem that the tide came in and washed away the entire set" – a set of 1,000 extras and tons of horses and vehicles, not to mention the other deposits you can see in the picture.

If the circumstances had been completely different, we would have ended up with a very different-looking attitude.

. 5 Children of Men

The scene of the car fight in Alfonso Cuarón's dystopian thriller Children of Men is harrowing with a capital H.

Theo, Julian, Miriam, Luke and Kee jump on street, Bent on both sides by forest, and for a moment things are relatively normal. Even peaceful. But then a surprise charge is launched against the revolutionaries and their world is again catapulted into disarray.

It's brutal, unyielding, and the single take is holding you with them right now, pinned on all sides, and can not escape the onslaught.

In his speech at the San Diego Comic Con in 2013 (via Gizmodo ), Cuarón talked about the complexity of filming a single, continuous recording and the things that can go awry (and very, very correct) certain instance).

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" We had 12 days to make the car attack scene, "he said 19659002]" After 10 days we still staged it. After 12 days we would lose the location. Day 11 came and there were accidents and we could only do two days a day. On the last day we knew that we would lose the location the next day. It was great in the morning, but one operator fell and we only had one more shot.

"We shot the last take, everything is going great, but then the blood accidentally spilled the lens, I called" Cut ", but there was an explosion and nobody heard me, so they shot away, then Later I realized that the bloodshed was the miracle. "

6. The Protector (Tom-Yum-Goong)

After traveling all the way from his hometown of Bangkok to Sydney, Australia, Kham (Tony Jaa) sets off for Tom Yum Goong Otob. an exotic meat restaurant, where it does not take long before it gets stuck.

The man is on a mission to rescue Por-Yai and Baby Grain, two elephants he grew up with in the jungle at home to him by the nefarious Madame Rose and her cohort of no-do-wells stolen.

He enters the VIP area of ​​the restaurant, where a huge spiral staircase and a raft Mobsters put him in front of his mouth, and he rises to the occasion. The glorious four-minute fighting scene follows Kham as he meets every single challenger, raises the stages of the restaurant to attack each new boss, and eliminates those who dare to fight with him.

The camera usually gets stuck with him, but occasionally he gets into oncoming traffic, taking advantage of the element of surprise Kham would have experienced before returning to him.

It's wild, unyielding and you can not take our eyes off it.

. 7 Hanna

It does not take long to find out that Erik Heller (Eric Bana) is being persecuted. The ex-CIA employee peers over his shoulder at each turn before the camera crosses a matching man with a quick look over Listener, hiding behind a pillar. The game is officially running.

What makes this one-shot take extraordinarily good is the feeling as if the subject were constantly being watched, pinned under the gaze of the camera, and the feeling of excitement is amplified when it pulls Erik all the way down the escalator the subway – and when do subways always do good things, right?

When the Chemical Brothers "Station Rumble" arrives, Erik gets caught on all sides by all those involved, and there is only one thing: Retrieve him.

It's a scene that's been spiked from the beginning and has increased tenfold with this long, single take, and we can not get enough.

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