Editing Long take

{{short description|Film shot lasting much longer than conventional shots}}
{{Use dmy dates|date=January 2017}} In [[filmmaking]], a '''long take''' (also called a '''continuous take''', '''continuous shot''', or '''oner''') is [[Shot (filmmaking)|shot]] with a duration much longer than the conventional editing pace either of the film itself or of films in general. Significant camera movement and elaborate [[blocking (stage)|blocking]] are often elements in long takes, but not necessarily so. The term "long take" should not be confused with the term "[[Wide shot|long shot]]", which refers to the use of a [[long-focus lens]]{{cn|date=March 2025}} and not to the duration of the take. The length of a long take was originally limited to how much film the [[Camera magazine|magazine]] of a [[Movie camera|motion picture camera]] could hold, but the advent of [[digital video]] has considerably lengthened the maximum potential length of a take.

==Early examples==
[[File:The Stranger (1946) long take.webm|thumb|right|This continuous shot from ''[[The Stranger (1946 film)|The Stranger]]'' (1946) lasts over four minutes. By shooting long takes, director [[Orson Welles]] could prevent the editor from having footage cut away, thereby exerting control over the final edit.<ref>{{cite AV media |last=Wood |first=Bret |year=2013 |title=The Stranger ''audio commentary'' |type=Blu-ray |publisher=[[Kino International (company)|Kino Classics]] |oclc=862466296}}</ref>]]
When filming ''[[Rope (film)|Rope]]'' (1948), [[Alfred Hitchcock]] intended for the film to have the effect of one long continuous take, but the camera magazines available could hold not more than 1000 feet of [[35 mm movie film|35 mm film]]. As a result, each take uses up to a whole roll of film and lasts up to 10 minutes. Many takes end with a [[Tracking shot|dolly shot]] to a featureless surface (such as the back of a character's jacket), with the following take beginning at the same point by zooming out. The entire film consists of only 11 shots.<ref>Miller, D. A. "Anal ''Rope''" in ''Inside/Out: Lesbian Theories, Gay Theories'', pp. 119–172. Routledge, 1991. {{ISBN|0-415-90237-1}}</ref>{{efn|For a complete analysis of Hitchcock's hidden and conventional cuts in ''Rope'', see David Bordwell's text in "Poetics of Cinema", 2008.<ref>{{cite book|last1=Bordwell|first1=David|author-link1=David Bordwell|title=Poetics of Cinema.|publisher=Routledge|isbn=978-0415977791|page=32+|edition=Paperback; 2007|chapter=From Shriek to Shot|year=2008}}</ref>}}

[[Andy Warhol]] and collaborating [[avant-garde]] filmmaker [[Jonas Mekas]] shot a 485-minute-long [[experimental film]], ''[[Empire (1965 film)|Empire]]'' (1965), on 10 rolls of film using an Auricon camera via [[16 mm film]], which allowed longer takes than its 35&nbsp;mm counterpart. "The camera took a 1,200&nbsp;ft roll of film that would shoot for roughly 33 minutes."<ref>{{cite news| url=https://www.independent.co.uk/arts-entertainment/films/features/preview-warhol-the-filmmaker-empire-1964-coskun-fine-art-london-419458.html | location=London | work=The Independent | first=Charlotte | last=Cripps | title=Preview: Warhol, The Film-Maker: 'Empire, 1964', Coskun Fine Art, London | date=10 October 2006}}</ref>

==Later examples==
A handful of theatrically released feature films, such as ''[[Timecode (2000 film)|Timecode]]'' (2000), ''[[Russian Ark]]'' (2002), ''[[PVC-1]]'' (2007), ''[[Victoria (2015 film)|Victoria]]'' (2015) and ''[[Boiling Point (2021 film)|Boiling Point]]'' (2021) are filmed in [[One-shot film|one single take]]. Others are composed entirely of a series of long takes, while many more may be well known for one or two specific long takes within otherwise more conventionally edited films. In 2012, the art collective The Hut Project produced ''The Look of Performance'', a digital film shot in a single 360° take lasting 3 hours, 33 minutes and 8 seconds. The film was shot at 50 frames per second, meaning the final exhibited work lasts 7 hours, 6 minutes and 17 seconds.<ref>{{cite web|last=The Hut Project|title=The Look of Performance|url=http://www.jerwoodvisualarts.org/page/3096/Jerwood+Encounters|url-status=dead|archive-url=https://web.archive.org/web/20120512151129/http://www.jerwoodvisualarts.org/page/3096/Jerwood+Encounters|archive-date=12 May 2012|df=dmy-all}}</ref>

Another example from television can be seen in the first season of [[HBO]]'s ''[[True Detective]]''. In episode four, [[Who Goes There (True Detective)|"Who Goes There"]], protagonist Detective [[Rust Cohle|Rustin Cohle]] (portrayed by [[Matthew McConaughey]]) is undercover as part of a biker gang who have decided to brazenly rob a drug den located in a dangerous neighborhood. The shot begins with the bikers arriving at the drug den with McConaughey's character reluctantly in tow. The six-minute shot moves in and out of various residences, through several blocks and over a fence, while shots are fired by shouting gangsters, bikers and police as they arrive on the scene. McConaughey at first assists the biker gang, then turns on them to abduct the leader, dragging him along for more than half of the continuous shot.<ref>{{Cite news|url=https://www.vulture.com/2014/02/seitz-on-true-detectives-6-minute-tracking-shot.html|title=Seitz: Why True Detective's 6-Minute Tracking Shot Is More Than Just 'Awesome'|work=Vulture|access-date=2018-11-22|language=en}}</ref> Director [[Cary Joji Fukunaga]] commented to ''The Guardian'', "We required the involvement of every single department, like a live theatre show. We had make-up artists hiding in houses so they could dash out and put make-up on [Cohle's hostage] Ginger's head. We panned away for a second to do that. We also had ADs peppered around the neighborhood with extras who had specific things to yell and specific places to run. We had stunt guys coordinating with stunt drivers to pull up at the right time, special-effects guys outside throwing foam bricks and firing live rounds."<ref>{{Cite web|url=https://www.theguardian.com/tv-and-radio/tvandradioblog/2014/mar/17/true-detective-cary-fukunaga-tracking-shot|title=How we got the shot: Cary Fukunaga on True Detective's tracking shot|last=Fukunaga|first=Cary|date=2014-03-17|website=the Guardian|language=en|access-date=2018-11-22}}</ref>

The ''[[John Wick]]'' series of films are known for their long-take fight scenes. This was due to the budgetary constraints of using only a single high-end camera for all the filming, and required close choreography with the various extras involved in the fights, who had to run behind the camera after being among the first fallen attackers to come in again as new attackers.<ref name="gq cover">{{cite magazine| url = https://www.gq.com/story/the-legend-of-keanu-reeves | title = The Legend of Keanu Reeves | first = Alex | last=  Pappademos | date = April 15, 2019 | access-date = April 15, 2019 | magazine= [[GQ (magazine)|GQ]]}}</ref>

In 2010, artist engineer [[Jeff Lieberman (artist engineer)|Jeff Lieberman]] co-directed a 4-minute music video with Eric Gunther, featuring the indie band [[OK Go]] performing their song "[[End Love]]". The video was shot in a continuous take using three cameras, running 18 hours from before sunset to 11&nbsp;am the following day. The footage was condensed using [[Time-lapse photography|time-lapse]] techniques ranging up to 170,000 times speedup, with some brief slow-motion segments also recorded at 1500 frames per second.<ref name="Rothermel">{{cite web |last1=Rothermel |first1=Ryan |title=OK Go "End Love" – Masters of the One Take Music Video, by Gunther and Lieberman |url=http://motionographer.com/2010/06/22/ok-go-end-love-masters-of-the-one-take-music-video-by-gunther-and-lieberman/ |website=Motionographer |access-date=2020-03-09 |date=22 June 2010}}</ref>

== Sequence shot ==
[[File:CH.SZ.Stoos Fronalpstock Sequence Rescue-Helicopter REGA 16K 16x9-R.jpg|thumb|Example of a sequence shot that includes the same helicopter multiple times]]
A sequence shot is a shot, a long take, that includes a full narrative sequence containing the full scene in its duration, meaning different locations or different time periods. The term is usually used to refer to shots that constitute an entire scene. Such a shot may involve sophisticated camera movement. It is sometimes called by the French term ''plan-séquence''. The use of the sequence shot allows for realistic or dramatically significant background and middle ground activity. Actors range about the set transacting their business while the camera shifts focus from one plane of depth to another and back again. Significant off-frame action is often followed with a moving camera, characteristically through a series of pans within a single continuous shot.

An example of this is the "Copacabana shot" featured in [[Martin Scorsese]]'s ''[[Goodfellas]]'' (1990), in which Henry Hill ([[Ray Liotta]]) takes his girlfriend to a nightclub passing through the kitchen.<ref>[http://www.tasteofcinema.com/2018/the-10-most-stunning-long-takes-in-movie-history/ The 10 Most Stunning Long Takes in Movie History — Taste of Cinema]</ref>

[[Robert Altman]]'s [[The Player (1992 film)|''The Player'']] (1992) opens with an elaborately choreographed eight-minute shot that follows multiple characters in multiple locations, both inside and outside.<ref>[http://www.tasteofcinema.com/2018/the-10-most-stunning-long-takes-in-movie-history/2 The 10 Most Stunning Long Takes in Movie History — Taste of Cinema]</ref> Among the 17 scenes that comprise the shot, one character refers to the four-minute shot that opens [[Orson Welles]]’ ''[[Touch of Evil]]'' (1958).<ref>[http://www.tasteofcinema.com/2015/the-15-greatest-opening-long-takes/2/ The 15 Greatest Opening Long Takes in Cinema History — Page 2 — Taste of Cinema]</ref>

[[Dardenne brothers|Jean-Pierre and Luc Dardenne]]'s ''[[Rosetta (film)|Rosetta]]'' (1999) ends with a five-minute continuous shot.<ref name="artforum">{{Cite magazine |last=Quandt |first=James |authorlink=James Quandt |date=October 2014 |title=Too Good to be True: The Films of Jean-Pierre and Luc Dardenne |url=https://www.artforum.com/print/201408/too-good-to-be-true-the-films-of-jean-pierre-and-luc-dardenne-48221 |magazine=[[Artforum]]}}</ref> The Dardenne brothers also shot long sequences for ''[[Two Days, One Night]]'' (2014), some of them consisting of ten minutes.<ref>{{Cite web |last=Chai |first=Barbara |date=24 December 2014 |title=Marion Cotillard on 'Two Days, One Night': 'I Came Close to a State of Depression Once' |url=https://www.wsj.com/amp/articles/BL-SEB-85694 |website=[[The Wall Street Journal]]}}</ref>

==One-shot full feature films==
A "[[One-shot film|one-shot feature film]]" (also called "continuous-shot [[feature film]]") is a full-length movie filmed in one long take by a single camera, or manufactured to give the impression that it was. Given the extreme difficulty of the exercise and the technical requirements for a long lasting continuous shot, such full feature films have only been possible since the advent of [[digital movie camera]]s.

== One-shot television episodes ==
One-shot episodes became more common in the 2020s, with some filmed as actual continuous takes and others manufactured to create the illusion of an uninterrupted shot. Notable examples include "[[The Hurt Man]]" from [[Monsters: The Lyle and Erik Menendez Story|''Monsters: The Lyle and Erik Menendez Story'']] (2024), "[[The Oner]]" from [[The Studio (TV series)|''The Studio'']] (2025), and all four episodes of [[Adolescence (TV series)|''Adolescence'']] (2025).<ref>{{Cite web |last=Rice |first=Lynette |date=2024-09-27 |title=‘Monsters’ Star Cooper Koch Breaks Down One-Take Scene As Erik Menendez When He Reveals History Of Abuse: “Super Nerve-Wracking” |url=https://deadline.com/2024/09/monsters-cooper-koch-one-take-scene-as-erik-menendez-history-of-abuse-1236102108/ |url-status=live |archive-url=https://web.archive.org/web/20241225174644/https://deadline.com/2024/09/monsters-cooper-koch-one-take-scene-as-erik-menendez-history-of-abuse-1236102108/ |archive-date=2024-12-25 |access-date=2025-05-11 |website=[[Deadline Hollywood|Deadline]]}}</ref><ref>{{Cite web |last=O'Falt |first=Chris |date=2025-03-28 |title=Inside ‘The Oner’: How They Shot Episode 2 of ‘The Studio’ |url=https://www.indiewire.com/features/interviews/the-studio-episode-2-where-how-shot-the-oner-1235111760/ |url-status=live |archive-url=https://web.archive.org/web/20250331230153/https://www.indiewire.com/features/interviews/the-studio-episode-2-where-how-shot-the-oner-1235111760/ |archive-date=2025-03-31 |access-date=2025-05-11 |website=[[IndieWire]] |language=en-US}}</ref><ref>{{Cite web |last=Venn |first=Lydia |date=2025-03-17 |title=Yes, Those ‘Adolescence’ Episodes Really Were Shot in One Take |url=https://www.cosmopolitan.com/entertainment/tv/a64206080/how-adolescence-filmed-each-episode-one-take |url-status=live |archive-url=https://web.archive.org/web/20250501184223/https://www.cosmopolitan.com/entertainment/tv/a64206080/how-adolescence-filmed-each-episode-one-take/ |archive-date=2025-05-01 |access-date=2025-05-11 |website=[[Cosmopolitan (magazine)|Cosmopolitan]] |language=en-US}}</ref> "[[eps3.4_runtime-error.r00]]" from [[Mr. Robot|''Mr. Robot'']] (2017) was edited to stitch together multiple long takes into a seamless shot.<ref>{{Cite web |last=Sullivan |first=Kevin P. |title=How 'Mr. Robot' pulled off its insane long-take episode |url=https://ew.com/tv/2017/11/08/mr-robot-long-take/ |url-status=live |archive-url=https://web.archive.org/web/20230409033905/https://ew.com/tv/2017/11/08/mr-robot-long-take/ |archive-date=2023-04-09 |access-date=2025-05-11 |website=[[Entertainment Weekly]] |language=en}}</ref>

==Directors known for long takes==
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* [[Chantal Akerman]]<ref>{{cite web |url=http://www.filmref.com/directors/dirpages/akerman.html |title=Chantal Akerman |publisher=Filmref.com |access-date=29 January 2012 |archive-url=https://web.archive.org/web/20120203080554/http://www.filmref.com/directors/dirpages/akerman.html |archive-date=3 February 2012 |url-status=dead |df=dmy-all }}</ref>
* [[Robert Altman]]<ref name="bostonglobe">{{cite news|first=Jake
|last=Coyle
|title='Atonement' brings the long tracking shot back into focus
|url=https://www.boston.com/ae/movies/articles/2007/12/29/atonement_brings_the_long_tracking_shot_back_into_focus/?page=1
|work=Boston Globe
|date=29 December 2007
|access-date=29 December 2007 }}</ref>
* [[Paul Thomas Anderson]]<ref name="bostonglobe"/>
* [[Wes Anderson]]<ref>[https://ew.com/gallery/10-signs-youre-watching-wes-anderson-movie/?slide=425048#425048 10 Signs You're Watching a Wes Anderson Movie|EW.com]</ref>
* [[Theo Angelopoulos]]<ref>[http://www.tasteofcinema.com/2016/the-12-best-directors-that-often-use-long-takes/2/ The 12 Best Directors That Often Use Long Takes - Taste of Cinema]</ref>
* [[Michelangelo Antonioni]]<ref name="bostonglobe"/>
* [[John Asher]]<ref>Greg Gilman. [https://www.thewrap.com/movies/article/exclusive-one-tree-hill-director-completes-first-ever-one-shot-rom-com-82126 ‘One Tree Hill’ Director Completes World’s First One-Shot Rom-Com (Exclusive)]. Netflix. ''The Wrap''. Retrieved 24 December 2013</ref>
* [[Scott Barley]]<ref>{{cite web | url=https://www.arttouchesart.com/emptying-space-contemporary-slow-cinema-and-the-work-of-scott-barley | title=Emptying Space: Contemporary Slow Cinema and the Work of Scott Barley | date=29 March 2020 }}</ref>
* [[Kathryn Bigelow]]<ref>[https://www.indiewire.com/feature/best-long-takes-movies-cinematography-87699/ The 20 Best Long Takes In Movies|IndieWire]</ref>
* [[Robert Bresson]]<ref>{{cite book |author1=Tony Pipolo |title=Robert Bresson - A Passion for Film |date=December 9, 2009 |publisher=Oxford University Press |isbn=9780199717835 |page=93}}</ref>
* [[Juan José Campanella]]<ref>[https://www.indiewire.com/feature/best-long-takes-movies-cinematography-87699/ The 20 Best Long Takes In Movies|IndieWire]</ref>
* [[John Cassavetes]]<ref>[https://www.allmovie.com/movie/a-woman-under-the-influence-v55063/review A Woman Under the Influence (1974) - AllMovie]</ref>
* [[Damien Chazelle]]<ref>[https://variety.com/2020/tv/features/damien-chazelle-the-eddy-jazz-in-paris-1234599931/#! 'The Eddy' Team on How Jazz 'Brings Together Different Groups' — Variety]</ref>
* [[Alex Cox]]
* [[Alfonso Cuarón]]<ref name="bostonglobe"/>
* [[Dardenne brothers|Jean-Pierre and Luc Dardenne]]<ref name="artforum"/><ref>{{Cite web |last=McCausland· |first=Sinead |date=March 11, 2017 |title=The Lasting Humanity of 'Two Days, One Night' |url=https://filmschoolrejects.com/the-lasting-humanity-of-two-days-one-night-ee094b70c106/ |website=Film School Rejects}}</ref>
* [[Brian De Palma]]<ref name="bostonglobe"/>
* [[Lav Diaz]]<ref>{{cite journal |url=https://intellectdiscover.com/content/journals/10.1386/ac_00038_1 |title=Beyond aesthetics: The long take as the nation-form in the cinema of Lav Diaz |date=2021 |publisher=Asian Cinema, Volume 32, Issue 2 |doi=10.1386/ac_00038_1 |access-date=31 May 2024 |df=dmy-all |last1=Garcia |first1=Elio |journal=Asian Cinema |volume=32 |issue=2 |pages=127–143 |url-access=subscription }}</ref>
* [[Carl Theodor Dreyer]]<ref>{{cite web |url=http://www.filmref.com/directors/dirpages/dreyer.html |title=Carl Theodor Dreyer |publisher=Filmref.com |access-date=29 January 2012 |url-status=dead |archive-url=https://web.archive.org/web/20120210233430/http://www.filmref.com/directors/dirpages/dreyer.html |archive-date=10 February 2012 |df=dmy-all }}</ref>
* [[Bruno Dumont]]<ref>{{cite web|last=Hughes |first=Darren |url=http://archive.sensesofcinema.com/contents/01/19/dumont_bodies.html |title=Senses of Cinema: Bruno Dumont's Bodies |publisher=Archive.sensesofcinema.com |access-date=29 January 2012 |url-status=dead |archive-url=https://web.archive.org/web/20110423152950/http://archive.sensesofcinema.com/contents/01/19/dumont_bodies.html |archive-date=23 April 2011 }}</ref>
* [[David Fincher]]<ref>[https://www.mentalfloss.com/article/56605/13-incredible-unbroken-takes-movies 13 Incredible Unbroken Takes in Movies|Mental Floss]</ref>
* [[Luis García Berlanga]]<ref>[https://www.sensesofcinema.com/2003/great-directors/berlanga/ Berlanga, Luis García - Senses of Cinema]</ref>
* [[Bi Gan (film director)|Bi Gan]]<ref>{{cite web |url=https://www.indiewire.com/2019/04/long-days-journey-into-night-bi-gan-interview-3d-long-take-1202057813/ |title=How the Gravity-Defying 59-Minute 3D Take in 'Long Day's Journey Into Night' Was Shot |publisher=IndieWire.com | access-date=15 October 2019 |date=12 April 2019 }}</ref>
* [[Jean-Luc Godard]]<ref>[https://www.bfi.org.uk/lists/16-incredible-long-takes 16 incredible long takes|BFI]</ref>
* [[Michael Haneke]]<ref>{{cite magazine|last=Frey |first=Mattias |url=http://www.sensesofcinema.com/2003/great-directors/haneke-2/ |title=Michael Haneke |magazine=Senses of Cinema |access-date=29 January 2012}}</ref>
* [[Alfred Hitchcock]]<ref>[https://www.bfi.org.uk/lists/16-incredible-long-takes 16 incredible long takes|BFI]</ref>
* [[Joanna Hogg]]<ref>[https://www.bfi.org.uk/interviews/joanna-hogg-eternal-daughter Joanna Hogg in the hall of ghosts: “In the evenings, we’d sit there with the fire roaring and watch films”|BFI]</ref><ref>[https://thequietus.com/culture/film/joanna-hogg-the-souvenir-unrelated/ As Real As Each Other: Joanna Hogg’s Unrelated And The Souvenir]</ref>
* [[Hou Hsiao-hsien]]<ref>[http://cinemaspace.berkeley.edu/Papers/CityOfSadness/slong.html Hou Hsiao-hsien: Long Take and Neorealism] {{webarchive |url=https://web.archive.org/web/20080414161805/http://cinemaspace.berkeley.edu/Papers/CityOfSadness/slong.html |date=14 April 2008 }}</ref>
* [[Miklós Jancsó]]<ref>{{cite news|author=Derek Malcolm |url=http://film.guardian.co.uk/filmedinburgh2003/story/0,,1018635,00.html |title=Silent Witness |publisher=Film.guardian.co.uk |date= 14 August 2003|access-date=29 January 2012 |location=London}}</ref>
* [[Bong Joon-ho]]<ref>{{Cite web |last=Carvajal |first=Nelson |title=Bong Joon-ho: Living Images, Moving Frames |url=https://www.rogerebert.com/features/bong-joon-ho-living-images-moving-frames |access-date=2024-05-07 |website=[[RogerEbert.com]] |date=July 2014 |language=en}}</ref>
* [[Mikhail Kalatozov]]<ref name="bostonglobe"/>
* [[Stanley Kubrick]]<ref>[http://www.geekweek.com/2010/01/20-greatest-extended-takes-in-movie-history.html 20 Greatest Extended Takes In Movie History - GeekWeek]</ref>
* [[David Lean]]<ref>{{cite news| url=https://www.theguardian.com/film/2011/sep/15/long-shot-film | location=London | work=The Guardian | first=Anne | last=Billson | title=Take it or leave it: the long shot | date=15 September 2011}}</ref><ref>{{cite news| url=https://www.nytimes.com/2008/09/14/movies/14raff.html | work=The New York Times | first=Terrence | last=Rafferty | title=David Lean, Perfectionist of Madness | date=14 September 2008}}</ref>
* [[Sergio Leone]]<ref>[http://sgnewwave.com/main/2008/04/sergio-leone-father-of-spaghetti-westerns Sergio Leone, Father of spaghetti westerns] {{webarchive |url=https://web.archive.org/web/20131226092937/http://sgnewwave.com/main/2008/04/sergio-leone-father-of-spaghetti-westerns |date=26 December 2013 }}</ref>
* [[Steve McQueen (director)|Steve McQueen]]<ref>[https://www.latimes.com/archives/la-xpm-2009-mar-22-ca-hunger22-story.html Steve McQueen's long shot in 'Hunger' is paying off], ''Los Angeles Times'', 22 March 2009.</ref>
* [[Sam Mendes]]<ref>[https://www.businessinsider.com/qa-sam-mendes-on-making-1917-in-one-long-take-2019-12 Sam Mendes explains why he made the World War I epic '1917' — and chose to present it as one long take]</ref>
* [[Tsai Ming-liang]]<ref>{{cite magazine|last=Hughes |first=Darren |url=http://www.sensesofcinema.com/2003/great-directors/tsai/ |title=Tsai Ming-Liang |magazine=Senses of Cinema |access-date=29 January 2012}}</ref>
* [[Kenji Mizoguchi]]<ref>[http://www.tasteofcinema.com/2016/the-12-best-directors-that-often-use-long-takes/2/ The 12 Best Directors That Often Use Long Takes - Taste of Cinema]</ref>
* [[Max Ophüls]]<ref>{{cite web|url=http://www.filmreference.com/encyclopedia/Academy-Awards-Crime-Films/Camera-Movement-CAMERA-MOVEMENT-AND-THE-LONG-TAKE.html |title=Camera Movement and the Long Take |publisher=Filmreference.com |date=6 May 1902 |access-date=29 January 2012}}</ref>
* [[Ruben Östlund]]<ref>{{cite web|url=http://www.luxprize.eu/news/focus-play-director-ruben-%C3%B6stlund|title=Focus on Play Director Ruben Östlund|access-date=24 December 2013|work=European Parliament/LUX prize|archive-date=28 July 2019|archive-url=https://web.archive.org/web/20190728224426/https://luxprize.eu/news/focus-play-director-ruben-%C3%B6stlund|url-status=dead}}</ref>
* [[Yasujirō Ozu]]<ref>[https://whitecitycinema.com/tag/david-lean/ Tag Archives: David Lean]</ref>
* [[Otto Preminger]]<ref>{{cite web|last=Fujiwara |first=Chris |url=http://archive.sensesofcinema.com/contents/directors/02/preminger.html |title=Senses of Cinema: Otto Preminger |publisher=Archive.sensesofcinema.com |access-date=29 January 2012 |url-status=dead |archive-url=https://web.archive.org/web/20100303235335/http://archive.sensesofcinema.com/contents/directors/02/preminger.html |archive-date=3 March 2010 }}</ref>
* [[Jean Renoir]]<ref>[https://web.archive.org/web/20051125132019/http://www.findarticles.com/p/articles/mi_qa3768/is_200301/ai_n9212973 Colliding with history in La Bete Humaine: Reading Renoir's Cinecriture]</ref>
* [[Jacques Rivette]]<ref>{{cite news|last=Lim |first=Dennis |url=https://www.nytimes.com/2006/06/04/movies/04lim.html?pagewanted=print |title=An Elusive All-Day Film and the Bug-Eyed Few Who Have Seen It |work=[[The New York Times]] |date=4 June 2006 |access-date=29 January 2012}}</ref>
* [[Francesco Rosi]]<ref>{{cite book|last=Marcus |first=Millicent |url=https://books.google.com/books?id=d41GI1PbZKoC&q=long+takes+fellini&pg=PA117 |title=After Fellini: National Cinema in the Postmodern Age |publisher=JHU Press |date=2002 |isbn=9780801868474 |access-date=14 July 2020 }}</ref>
* [[Martin Scorsese]]<ref name="bostonglobe"/>
* [[M. Night Shyamalan]]<ref>{{cite news| url=http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19990806/REVIEWS/908060306/1023 | work=Chicago Sun-Times | title=The Sixth Sense | date=6 August 1999}}</ref>
* [[Alexander Sokurov]]<ref>{{cite web|last=Halligan |first=Benjamin |url=http://archive.sensesofcinema.com/contents/03/25/russian_ark.html |title=The Remaining Second World: Sokurov and Russian Ark &#124; Senses of Cinema |publisher=Archive.sensesofcinema.com |date=11 September 2001 |access-date=29 January 2012 |url-status=dead |archive-url=https://web.archive.org/web/20100312075237/http://archive.sensesofcinema.com/contents/03/25/russian_ark.html |archive-date=12 March 2010 }}</ref>
* [[Rodrigo Sorogoyen]]<ref>{{Cite web|url=https://letraslibres.com/revista/los-anos-sorogoyen/|website=[[Letras Libres]]|first=Vicente|last=Molina Foix|date=1 January 2020|title=Los años Sorogoyen|author-link=Vicente Molina Foix}}</ref>
* [[Steven Spielberg]]<ref>{{cite web |url=http://vimeo.com/94628727 |title=The Spielberg Oner – One Scene, One Shot |publisher=Tony Zhou |access-date=9 September 2014 |archive-url=https://web.archive.org/web/20180810041742/https://vimeo.com/94628727 |archive-date=10 August 2018 |url-status=dead }}</ref>
* [[Andrei Tarkovsky]]<ref>{{cite magazine|last=Cain |first=Maximilian Le |url=http://www.sensesofcinema.com/2002/great-directors/tarkovsky/ |title=Andrei Tarkovsky |magazine=Senses of Cinema |access-date=29 January 2012}}</ref>
* [[Béla Tarr]]<ref>{{cite web |url=http://www.filmref.com/directors/dirpages/tarr.html |title=Strictly Film School: Béla Tarr |publisher=Filmref.com |access-date=29 January 2012 |archive-url=https://web.archive.org/web/20120118040626/http://www.filmref.com/directors/dirpages/tarr.html |archive-date=18 January 2012 |url-status=dead |df=dmy-all }}</ref>
* [[Johnnie To]]<ref>[https://www.bfi.org.uk/lists/16-incredible-long-takes 16 incredible long takes|BFI]</ref>
* [[Rob Tregenza]]<ref>{{cite web|url=http://www.cinemaparallel.com/interview.tregenza.html |title=Rob Tregenza Interview |publisher=Cinemaparallel.com |access-date=29 January 2012}}</ref>
* [[Apichatpong Weerasethakul]]<ref>{{cite magazine|last=Brunner |first=Vera |url=http://www.sensesofcinema.com/2010/book-reviews/phantoms-of-liberty-apichatpong-weerasethakul-edited-by-james-quandt/ |title=Phantoms of Liberty: Apichatpong Weerasethakul edited by James Quandt |magazine=Senses of Cinema |access-date=29 January 2012}}</ref>
* [[Orson Welles]]<ref name="bostonglobe"/>
* [[Joss Whedon]]<ref>{{cite web|url=http://www.dailyfilmdose.com/2007/05/long-take.html |title=Steadicam Shot }}</ref>
* [[Joe Wright]]<ref name="bostonglobe"/>
* [[Jia Zhangke]]<ref>{{cite magazine|last=Lee |first=Kevin |url=http://www.sensesofcinema.com/2003/great-directors/jia/ |title=Jia Zhangke |magazine=Senses of Cinema |access-date=29 January 2012}}</ref>{{div col end}}

==See also==
* [[One-shot film]]
* [[List of one shot music videos|One shot (music video)]]
* [[Slow cutting]]
* [[Slow cinema]]
* [[Digital cinematography]]
* [[Digital cinema]]
* [[List of films shot on digital video prior to 2015|List of films shot in digital]]
* [[Art film]]

==References==
'''Footnotes'''
{{notelist}}

'''References'''
{{Reflist|30em}}

==Bibliography==
* ''A History of Narrative Film'' by [[David Cook (singer)|David Cook]] ({{ISBN|0-393-97868-0}})

==External links==
* {{IMDb title|qid=Q18786433|title=Victoria|id=tt4226388}}
* {{IMDb title|qid=Q59721|title=Russian Ark|id=tt0318034}}
* [http://www.cinemetrics.lv Cinemetrics – a statistical analysis of shot length]
* [http://thoughtcatalog.com/2010/a-short-history-of-the-long-take/ Essay on the history and use of long takes in music videos]


{{Continuity editing}}
{{Cinematic techniques}}

{{DEFAULTSORT:Long Take}}
[[Category:Cinematography]]
[[Category:Film editing]]
[[Category:Cinematic techniques]]
[[Category:Film and video technology]]
[[Category:Digital movie cameras]]
[[Category:Articles containing video clips]]