{"id":57681,"date":"2019-02-19T12:00:12","date_gmt":"2019-02-19T11:00:12","guid":{"rendered":"http:\/\/centmagazine.co.uk\/?p=57681"},"modified":"2019-02-19T12:00:49","modified_gmt":"2019-02-19T11:00:49","slug":"trim-one-take-wonders","status":"publish","type":"post","link":"https:\/\/staging.centmagazine.co.uk\/?p=57681","title":{"rendered":"TRIM; One Take Wonders"},"content":{"rendered":"<p><span style=\"color: #800000;\">Films shot in a continuous take, work of artistic genius, or pretentious and unnecessary?<\/span><\/p>\n<p><span style=\"color: #800000;\">One-take films and the use of long shots have been a directorial technique for decades. Although\u00a0<em>Birdman\u00a0<\/em>was not all shot in one take, just made to look like it was, director of photography Emmanuel Lubezki has shed some light on this intriguing cinematic technique. \u201cLife is continuing and maybe not having cuts was going to help immerse the audience in that kind of emotional rhythm\u201d. Lubezki remembers director Alejandro Gonzalez I\u00f1\u00e1rritu telling him; \u201cWhen I wake up in the morning and I start my day, it doesn\u2019t feel like a bunch of cuts. It feels like a constant move\u201d.<\/span><\/p>\n<p><span style=\"color: #800000;\">He has a point, there\u2019s no post production in real life and the one-shot film, despite unrealistic subject matter, can feel more real than a documentary sometimes.\u00a0<\/span><\/p>\n<p><span style=\"color: #800000;\">In a recent interview on the Graham Norton Show, actor and star of the Oscar nominated <em>If Beale Street Could Talk <\/em>Regina King, celebrated the director, Barry Jenkins, use of the long shot. \u201cThe way the camera moves, the way he just kind of sits there, brings the audience in. I have had people come to me and say I was just so uncomfortable I felt like I was invading on someone\u2019s private space, but I couldn\u2019t look away.\u201d<\/span><\/p>\n<p><span style=\"color: #800000;\">Another Oscar nominee\u00a0<em>Roma\u00a0<\/em>by director Alfonso Cu<span class=\"LrzXr kno-fv\">ar\u00f3n employs the long shot technique to create drama, suspense and at times intense\u00a0discomfort (people who have seen the film will know exactly the scene).\u00a0<\/span><\/span><\/p>\n<p><span style=\"color: #800000;\">While these films have use long shots to create mood, some directors took this technique further and shot the entire film in one take. These three examples are particularly impressive.<\/span><\/p>\n<h2><span style=\"color: #800000;\"><strong>Russian Ark, 2002<\/strong><\/span><\/h2>\n<p><iframe loading=\"lazy\" title=\"Russian Ark - Official Trailer\" width=\"580\" height=\"326\" src=\"https:\/\/www.youtube.com\/embed\/ZV1kphEEXn8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>One of the most interesting on the list is the 2002 Cannes Palm D\u2019Or nominee <em>Russian Ark<\/em>. Directed by Alexander Sokurov, the 96-minute continuous shot film follows an unnamed narrator through the halls and corridors of the Winter Palace in Saint Petersburg. He implies that he is a ghost, killed in a terrible accident and is now drifting through the palace encountering real and fictional people from various periods of the city\u2019s 300-year history. The film uses the \u2018fourth wall\u2019 device, but repeatedly breaks and re-builds it, making the film a disjointed and confusing at times.<\/p>\n<p><span style=\"color: #800000;\">Our narrator is accompanied by \u2018The European\u2019, who represents the Marquis de Custine, a 19<sup>th<\/sup> century French aristocrat and travel writer, who documented his travels through the Russian Empire and the reign of Tsar Nicholas I in this work <em>La Russie en 1839. <\/em>At times the two men interact with characters they meet, other times they pass through historic scenes like ghosts.<\/span><\/p>\n<p><span style=\"color: #800000;\">The film had a cast of over 2,000, all of whom had to be ready at the word \u2018action\u2019 and not a single mistake was allowed, as well as 3 orchestras and an entire host of props. To add to an already stressful shoot, the cast and crew were only allowed 36 hours in the National Hermitage Museum to film, meaning they had to set up, get the perfect take and deconstruct their set all in a matter of hours.<\/span><\/p>\n<p><span style=\"color: #800000;\">One scene which strikes the audience as a particularly impressive feat is the ballroom scene. The filming was such a struggle that just before entering the ballroom to shoot the 18-minute sequence, the camera man, Tilman B\u00fcttner, turned to his assistant and told him he was too exhausted to continue. Complaining of pains in his legs and groin he nearly gave up, until he saw the 600 dancers, all in costume and was inspired to continue.<\/span><\/p>\n<p><span style=\"color: #800000;\">A truly amazing film, the effect of the single take is to fully immerse the watcher in the film, to add to the confusing time travelling surrealism and to test the boundaries of film making.<\/span><\/p>\n<h2><span style=\"color: #800000;\"><strong>Victoria, 2015<\/strong><\/span><\/h2>\n<p><iframe loading=\"lazy\" title=\"Victoria Official Trailer 1 (2015) - Thriller HD\" width=\"580\" height=\"326\" src=\"https:\/\/www.youtube.com\/embed\/Kp8wcV3GjW0?start=9&#038;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>Released in 2015, <em>Victoria<\/em> draws many stylistic comparisons to <em>Russian Ark <\/em>due to its commitment to the single shot format. At 140 minutes, the pressure not to mess up is enough to add to the audiences\u2019 feeling of uneasiness. Amazingly, the films budget only permitted three takes, thankfully the third one hit the mark. The script was limited with much of the dialogue improvised, and the film itself understandably doesn\u2019t have the slickness of an edited film.<\/p>\n<p><span style=\"color: #800000;\">The continuous plot follows Victoria, beginning as she leaves a club in Berlin. She meets four young men, one of whom woos her in to a violent crime. The action in the film is explosive but not always slick. During a chase scene Laia Costa, who plays Victoria, forgot where she was supposed to drive and nearly crashed in to the films backstage production hub. With a limited budget and time scale, this stress is heavily transferred in to the drama of the finished film. The films faults remind you that what your watching is in real time, you\u2019re not being fooled. That, not the single take, is the point says director Sebastian Schipper.<\/span><\/p>\n<p><span style=\"color: #800000;\">\u201cThe job of art is always to give us the white noise that your brain needs\u201d, says Schipper. \u201cThe digital age lets us erase all of the mistakes. I think we\u2019re only starting to find out how that is taking something substantial away from us. We\u2019re so good at decoding voices and expression that we need to feel the stuff that is not optimised\u201d.<\/span><\/p>\n<p><span style=\"color: #800000;\">Schipper takes considerate umbrage with the idea that the one-shot film is a \u2018gimmick\u2019. \u201cHow could something that crazy be a gimmick? Dear sirs and ladies: it\u2019s not a gimmick. It\u2019s insane to use that word for it\u201d. He does however believe that making and edited film look like it\u2019s been shot in one feels gimmicky, \u201cThe camera tells if you lie\u201d.<\/span><\/p>\n<h2><span style=\"color: #800000;\"><strong>The Wedding Party<br \/>\n<\/strong><\/span><\/h2>\n<p><iframe loading=\"lazy\" title=\"The Wedding Party One-Shot Romantic Comedy Film Directed by Thane Economou - Trailer\" width=\"580\" height=\"326\" src=\"https:\/\/www.youtube.com\/embed\/CtCRvGsxLbk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>Moving away from the hard-hitting art house films that tend to lean towards more unique production techniques, <em>The Wedding Party<\/em> is an American Rom-com that is all shot in one-take. The plot itself is lacking somewhat in originality; a wedding, tense comedic relationships, and thin characters make this film unoriginal however, seeing a typically Western rom-com model subverted by a typically art-house style, is intriguing.<\/p>\n<p><span style=\"color: #800000;\">Again, the aim in using the single shot technique was audience immersion. Director Thane Economou wanted the audience to feel as though they were at the party; \u201cFor me, it was about creating a fully immersive experience. I wanted it to feel more real and immersive, specifically because my film was a comedy, and you don\u2019t tend to see this shooting style with a broad comedy.\u201d<\/span><\/p>\n<p><span style=\"color: #800000;\">Despite the slightly weak nature of the plot, the one-shot technique does make the awkward humour more awkward, and the slow snaking of the camera from scene to scene does hold your attention.\u00a0<\/span><\/p>\n<p><span style=\"color: #800000;\">\u201cFor me it ties in with the thematic of the film, which is all about accepting imperfection\u2026So for me the technique is an essential part of the film\u201d. The play out was heavily rehearsed for 3 weeks, then shot in 5 takes over 3 days.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Films shot in a continuous take, work of artistic genius, or pretentious and unnecessary? One-take films and the use of&#8230;<\/p>\n","protected":false},"author":155,"featured_media":57702,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[1],"tags":[13890,13194,1574,13193,13191,4107,13195,13192,13170],"features_issues":[],"featured_themes":[],"ppma_author":[16685],"class_list":["post-57681","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-100-percent-design","tag-culture","tag-alfonso-cuaron","tag-film","tag-long-shot","tag-one-take","tag-oscars","tag-regina-king","tag-single-take","tag-trim"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>TRIM; One Take Wonders | Cent Magazine<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"TRIM; One Take Wonders | Cent Magazine\" \/>\n<meta property=\"og:description\" content=\"Films shot in a continuous take, work of artistic genius, or pretentious and unnecessary? 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