Eighty Eight Takes

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Re: Eighty Eight Takes

Post by JediMoonShyne » Sat Sep 10, 2011 6:25 am

Oaktown wrote:Jedi > Trip cause of the writeup.
Trip > Jedi cause of watchedeverything.
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Re: Eighty Eight Takes

Post by JediMoonShyne » Sat Sep 10, 2011 3:59 pm

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If one was to ask for the standout long take from Gus Van Sant's now sizeable filmography, the obvious answer would probably be this gem from his 2003 film Elephant. A take that shows us Van Sant's ghostly ability, camera in hand, to fall in step with his characters - something he did just as well a year previously, tracking Matt Damon and Casey Affleck through sparse wilderness and across dusty plains in Gerry. Following on from this shared theme of distanced pursuit, there is this ethereal long take that opens said film. Unlike the bustling, almost imposing metropolitan highway scene in Andrei Tarkovsky's Solaris, conceived so many years previous, here Van Sant juxtaposes the roaring machinery of an old American automobile with the serenity and tranquil nature of the American countryside. A similar shot, albeit from a slightly higher angle, was used by the director towards the beginning of Elephant, showing the father of one of the boys driving drunk down a leafy suburban avenue. The car bounces off those parked around it, wildly careening from one side of the road to the other, and is used not only to illustrate parental incompetence but also perhaps the confused period that is adolescence.
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Re: Eighty Eight Takes

Post by Mod Hip » Sat Sep 10, 2011 4:28 pm

I apparently don't have permission to view the first Elephant shot, but can imagine which one you're speaking of - it seems to track across the entire school, inside and out. I like how Van Sant compared it to a Tomb Raider video game... something to the effect of, "In a movie, someone says 'we need to go there' and cut, they're there... in Tomb Raider you have to run Lara all the way there, and I wanted to show that."
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Re: Eighty Eight Takes

Post by JediMoonShyne » Sat Sep 10, 2011 5:19 pm

Mod Hip wrote:I apparently don't have permission to view the first Elephant shot...
Fixed! :oops:
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Re: Eighty Eight Takes

Post by Mod Hip » Sat Sep 10, 2011 5:32 pm

Ah, thank you. Obviously not the shot I had had in mind, but a fine one nevertheless. As for "Gerry", it's probably at the top of my why-the-hell-don't-I-just-sit-down-and-watch-it-already list, and has been for nigh a decade. I'm awful.
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Re: Eighty Eight Takes

Post by Hank » Sat Sep 10, 2011 6:59 pm

The music works wonderfully there... I haven't seen Gerry though.

Probably should.
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Re: Eighty Eight Takes

Post by Fist » Sat Sep 10, 2011 8:40 pm

Last Days has the best long takes... mmm.
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Re: Eighty Eight Takes

Post by Blevo » Sat Sep 10, 2011 8:43 pm

Magic Fister wrote:Last Days has the best long takes... mmm.
best macaroni and cheese tutorial on film too.
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Re: Eighty Eight Takes

Post by Subhadip » Sat Sep 10, 2011 8:45 pm

Mod Hip wrote:I apparently don't have permission to view the first Elephant shot, but can imagine which one you're speaking of - it seems to track across the entire school, inside and out. I like how Van Sant compared it to a Tomb Raider video game... something to the effect of, "In a movie, someone says 'we need to go there' and cut, they're there... in Tomb Raider you have to run Lara all the way there, and I wanted to show that."
The only difference is that in Tomb Raider they have to press some buttons and fiddle around with a joystick, so they feel they are doing something. In film, they are basically doing nothing and watching "nothing happening", hence frightfully boring.
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Re: Eighty Eight Takes

Post by Epistemophobia » Sat Sep 10, 2011 8:58 pm

Magic Fister wrote:Last Days has the best long takes... mmm.
:fresh:
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Re: Eighty Eight Takes

Post by Gort » Sat Sep 10, 2011 10:47 pm

Subhadip wrote: The only difference is that in Tomb Raider they have to press some buttons and fiddle around with a joystick, so they feel they are doing something. In film, they are basically doing nothing and watching "nothing happening", hence frightfully boring.
So, to make it interactive you pause the video, then frame it forward through the entire sequence. Takes a long time, and it's a lot of work.

Still probably boring, though.
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Re: Eighty Eight Takes

Post by Trip » Sun Sep 11, 2011 2:26 am

Subhadip wrote: The only difference is that in Tomb Raider they have to press some buttons and fiddle around with a joystick, so they feel they are doing something. In film, they are basically doing nothing and watching "nothing happening", hence frightfully boring.
There's a bit at the end of Paper Mario on the Wii where you must walk across an essentially blank/white screen for what seems like 10 full minutes, with no obstacles. That's the closest games have gotten to a drudging long take.

Actually, I just heard about some bus driving game on the net in which you drive along a desert road for literally 8 hours nonstop in order to win, no obstacles.

Difference is the games are tedious and Van Sant's film is utterly mesmerising.
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Re: Eighty Eight Takes

Post by Stu » Sun Sep 11, 2011 2:28 am

Trip wrote: There's a bit at the end of Paper Mario on the Wii where you must walk across an essentially blank/white screen for what seems like 10 full minutes, with no obstacles. That's the closest games have gotten to a drudging long take.
What about the credits to Metal Gear Solid 3?
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Re: Eighty Eight Takes

Post by Oaktown » Sun Sep 11, 2011 2:42 am

Not the biggest fan of that Gerry shot. I like the idea and it works better with context, but the individual shot itself is longer than necessary to understand what Van Sant wanted to achieve. The Carlito's Way shot on the other hand is almost a perfect example for the thread. The scene shows a lot about Pacino's character, but it also makes me want to see behind the scenes footage of how they did that shot. The really interesting thing for me is how frequently Pacino (and thus the camera) have to look back to where they just came from.
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Re: Eighty Eight Takes

Post by JediMoonShyne » Sun Sep 11, 2011 9:29 am

Oaktown wrote:Not the biggest fan of that Gerry shot. I like the idea and it works better with context, but the individual shot itself is longer than necessary to understand what Van Sant wanted to achieve. The Carlito's Way shot on the other hand is almost a perfect example for the thread. The scene shows a lot about Pacino's character, but it also makes me want to see behind the scenes footage of how they did that shot. The really interesting thing for me is how frequently Pacino (and thus the camera) have to look back to where they just came from.
Don't quite agree with this. Firstly, I think it's critical to the Gerry take that Van Sant not only allows enough time for his audience to soak up this feeling of serenity that his characters are experiencing, but also that he extends the scene so that we move both closer to and away from the car. This encourages the aforementioned theme of pursuit that can be seen throughout the film. Almost as though we are straining to catch up with the car and its owners, and eventually become a third - albeit unseen - member of their fateful party.
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Re: Eighty Eight Takes

Post by JediMoonShyne » Sun Sep 11, 2011 11:15 pm

Image
Upon embarking on this thread, it was necessary to lay down a set of rules so as to maintain some sort of standard. To begin with, the minimum shot length would be just 30 seconds, thus ruling out a number of fairly iconic film moments. Secondly, so as to exclude the impossible camera dives and swoons of David Fincher's Panic Room, for example, all takes involving special effects would be disregarded. And thirdly, since it is such a favourite of directors as a way of setting the scene, to snub any long take that featured opening or closing credits rolling over the top. Consequently, this introductory scene from Roman Polanski's The Tenant breaks the rules on two counts. That said, it is a historical scene in so many ways - and not only because it marks the one time Polanski handed himself a leading role, or indeed his one collaboration with legendary Swedish cinematographer Sven Nykvist. It is impossible to ignore the influence upon Polanski of the work of Alfred Hitchcock, and this preambulary opening immediately reminds us of the Rear Window take posted previously. With just a single take, we are introduced to the surroundings that become so familiar to us as the film unfolds.
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Re: Eighty Eight Takes

Post by Kayden Kross » Sun Sep 11, 2011 11:29 pm

Panic Room, you say?
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Re: Eighty Eight Takes

Post by Hank » Mon Sep 12, 2011 12:51 am

It's a shame those titles are there, actually.
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Re: Eighty Eight Takes

Post by Oaktown » Mon Sep 12, 2011 2:30 am

Its funny that you bring up the Panic Room example because I was thinking a few days ago when viewing this thread about how digital technology potentially changes the idea of a long take. I would assume your not going to put the 35 minute rumored opening of Gravity if you do a sequel to the thread, but that was answered.
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Re: Eighty Eight Takes

Post by Von Samuel » Mon Sep 12, 2011 3:16 am

So many great shots in The Tenant.
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Re: Eighty Eight Takes

Post by Trip » Mon Sep 12, 2011 3:35 am

There were no rules, you are such a liar.
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Re: Eighty Eight Takes

Post by Gort » Mon Sep 12, 2011 4:54 am

Trip wrote:There were no rules, you are such a liar.
There were. He just didn't remember to tell you. Until now. And you're so far away from him on the globe, there's nothing you can do about it. What a partnership. :up:
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Re: Eighty Eight Takes

Post by JediMoonShyne » Mon Sep 12, 2011 6:07 am

Trip wrote:There were no rules, you are such a liar.
Hey, don't take it out on me.

I mean, I told you to go ahead and use those shots from Azkaban.
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Re: Eighty Eight Takes

Post by Trip » Mon Sep 12, 2011 6:24 am

JediMoonShyne wrote:I mean, I told you to go ahead and use those shots from Azkaban.
I was never going to use any such shots.
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Re: Eighty Eight Takes

Post by JediMoonShyne » Mon Sep 12, 2011 9:02 am

For those wondering how they did it:
A lightweight, portable modular louma crane extending about 25 feet with a remote control camera head, devised by Jean-Marie Lavalou and Alain Masseron in 1970, made its theatrical debut with The Tenant, in the initial long-take shot where Polanski and Nykvist's camera descriptively moves up/down/across from window to window, burrowing in on the protagonist as he enters the courtyard and heads to the concierge's quarters to enquire about a vacant flat.
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Re: Eighty Eight Takes

Post by Ace » Mon Sep 12, 2011 9:20 am

Oaktown wrote:Its funny that you bring up the Panic Room example because I was thinking a few days ago when viewing this thread about how digital technology potentially changes the idea of a long take. I would assume your not going to put the 35 minute rumored opening of Gravity if you do a sequel to the thread, but that was answered.
Well none of the shots of Children of Men would qualify also since they employed digital technology.
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Re: Eighty Eight Takes

Post by Trip » Mon Sep 12, 2011 9:23 am

Ace69 wrote: Well none of the shots of Children of Men would qualify also since they employed digital technology.
Remember, there were never any rules. Jedi lied.

We were more against a CGI camera "taking" the shot, not CGI building up a part of the image taken by an actual camera.
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Re: Eighty Eight Takes

Post by Ace » Mon Sep 12, 2011 9:29 am

Trip wrote: Remember, there were never any rules. Jedi lied.

We were more against a CGI camera "taking" the shot, not CGI building up a part of the image taken by an actual camera.
Well yeah that would make sense since the shots in Children are actually caught by the camera and the only CGI is the CGI that blends the shots or "takes" together.
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Re: Eighty Eight Takes

Post by JediMoonShyne » Mon Sep 12, 2011 1:45 pm

Get on with it.
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Re: Eighty Eight Takes

Post by Trip » Mon Sep 12, 2011 1:51 pm

Ugh, one film?! too much wooork
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Re: Eighty Eight Takes

Post by Immaculate » Mon Sep 12, 2011 6:25 pm

I should probably see The Tenant. That was impressive.
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Re: Eighty Eight Takes

Post by Trip » Tue Sep 13, 2011 5:36 am

Image
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Re: Eighty Eight Takes

Post by B-Side » Tue Sep 13, 2011 5:41 am

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Re: Eighty Eight Takes

Post by ADD » Tue Sep 13, 2011 6:14 am

JediMoonShyne wrote:For those wondering how they did it:
Where do you find this info, Jedi?
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Re: Eighty Eight Takes

Post by Unreliable Narrator » Tue Sep 13, 2011 6:20 am

That's the best one yet. I recall a particularly good one in Distant Voices, Still Lives.
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Re: Eighty Eight Takes

Post by Trip » Tue Sep 13, 2011 6:44 am

Unreliable Narrator wrote:That's the best one yet. I recall a particularly good one in Distant Voices, Still Lives.
Yep, there were a few to choose from in that too. The one in The Long Day Closes with the shadow of pouring rain on the carpet is also lovely.

But the above manages to introduce all the elements of an autobiographical Davies film in one shot: film, music, reflection, the passage of time, dreariness, the humour.
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Re: Eighty Eight Takes

Post by JediMoonShyne » Tue Sep 13, 2011 7:12 am

Wonderful. Must watch more Davies, damn it.
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Re: Eighty Eight Takes

Post by Subhadip » Tue Sep 13, 2011 10:40 am

I was waiting for that. Sublime.
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Re: Eighty Eight Takes

Post by Fist » Tue Sep 13, 2011 1:28 pm

Ohhh, really want to see that Davies now.
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Re: Eighty Eight Takes

Post by JediMoonShyne » Tue Sep 13, 2011 10:15 pm

Image
A questionable inclusion, perhaps, considering its exquisite use of slow motion, but this early scene from Hsiao-hsien Hou's Millennium Mambo is yet another introductory number that seeks to illuminate; to flick an initial switch on the story, shedding light on what we are seeing. The narrator, we soon realise, is in fact the main character herself, and it is through her voiceover - "This happened ten years ago, in the year 2001" - that we are once again faced with this ultimate Hou obsession of looking back on events with the privilege of hindsight. Proving that even when he sets a film in the present, his characters are still reflecting on the past. Then there is this idea, as touched upon previously, of pursuit. Just as we follow the protagonist Vicky down a neon tunnel here, so we are introduced to and become familiar with following her story - and what better point to establish this than the very beginning of the film? The same can be said of this opening scene from Jonathan Glazer's Birth, in which we always follow from a distance and the object of our pursuit is faceless. Or even, and perhaps to a lesser extent, this lengthy take from Andrea Tonacci's Bang Bang.
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Re: Eighty Eight Takes

Post by Epistemophobia » Tue Sep 13, 2011 10:19 pm

Mm, old Hou gone Wong.
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Re: Eighty Eight Takes

Post by JediMoonShyne » Tue Sep 13, 2011 10:20 pm

Epistemophobia wrote:Mm, old Hou gone Wong.
Didn't mention this above, but yeah.

Not very typical, is it?
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Re: Eighty Eight Takes

Post by Epistemophobia » Tue Sep 13, 2011 10:27 pm

The woman, the lighting, the music, the voice, the personal camera; so modern. Great shot.
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Re: Eighty Eight Takes

Post by Oaktown » Tue Sep 13, 2011 10:35 pm

:).
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Re: Eighty Eight Takes

Post by Colonel Kurz » Tue Sep 13, 2011 10:41 pm

I've been meaning to watch that.
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Re: Eighty Eight Takes

Post by Macrology » Tue Sep 13, 2011 10:58 pm

Mm, love that amber world peeking through the arches of the tunnel, up against the cold, pale blue of the fluorescent lights. Need to watch more Hou.
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Re: Eighty Eight Takes

Post by Colonel Kurz » Tue Sep 13, 2011 11:05 pm

Is Vimeo inaccessible for anyone else right now?
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Re: Eighty Eight Takes

Post by Quite-Gone Genie » Tue Sep 13, 2011 11:08 pm

Colonel Kurz wrote:Is Vimeo inaccessible for anyone else right now?
Yes.
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Re: Eighty Eight Takes

Post by ADD » Wed Sep 14, 2011 2:53 am

JediMoonShyne wrote:Wonderful. Must watch more Davies, damn it.


In this case, from Drew Casper's Hollywood Film 1963-1976: Years of Revolution and Reaction. :)
Woah, going to go ahead and assume that book rides on a very high recommendation?
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Re: Eighty Eight Takes

Post by Trip » Wed Sep 14, 2011 2:54 am

Love.
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