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
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."
"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.
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).