The upcoming war film "1917", which will be released on December 25, has new news, and the film will be presented to the audience in a one-shot way, with only one shot in 110 minutes.
Sam Mendes, the director of 1917 and former husband of Kate Winslet, said, "It's an exciting choice, and it has to have a heartfelt, immersive feel. The film was made in such a way that the audience could get as close to that experience as possible. ”
Produced by DreamWorks and starring George McKay and Dean Charles Chapman, Sam Mendes will be written with "Pulp Fiction" screenwriter Christie Wilson Keynes, telling the story of World War I.
Cinematographer Roger Deakins combines all of the film's scenes into one shot, tracking down two British soldiers who pass information through the gunfire battlefield in order to save 1600 lives.
We know that montages and long shots are two different ways of expressing the film. Montage mainly uses editing techniques to reorganize the story picture to meet the expressive needs of the film; the long shot is to show a continuous plot with one shot.
The advantage of long shots is that such shots often drive emotions and give people a shocking force. The difficulty is that the requirements for both the director and the actor are very high, especially the director's control over the development of the scene, characters, and plot is a test.
For Sam Mendez, with his eyes full of criticism and deviance, he may have been happy to experiment with different fields of cinematic art, which is why he tried to the end. But the film is not a pure one-shot that was synthesized in the end.
The same is true of "Birdman," which won the Oscar for Best Picture for 119 minutes, which is composed of more than 10 shots to the end. Hitchcock's first color film, The Reaper of Souls, is also a pseudo-shot to the end.
In the end, a shot is a long shot that tends to the limit, there is no switching point in the whole film, the requirements for the director and actors are terrible, and it is difficult to shoot at one time, spending considerable energy and material resources. But in the end, some people are happy to try the pure mirror.
The longest shot was the 8.5-hour black-and-white film Empire State Building in 1965, which he made with the sole purpose of "making a film that was extremely low-viewing," which seemed boring.
He succeeded, and the film was really low-viewing, just putting the camera there to record the changes in the Empire State Building in 8 hours.
In 2002, Russian director Sokolov filmed "Russian Ark" lasted 100 minutes, showing more than 200 years of Russian history with one lens, which is remarkable!
The other, german director Sebastian Schipper, shot in 2015 and was nominated for the Golden Bear at the Berlin Film Festival, and the 138-minute "Victoria" is also very classic. The film does not weaken the dramatic plot because of one shot, and the actor's acting skills are not generally praised.
Japanese director Yuki Mitani's 100-minute "Big Airport 2013" filmed in 2013 was only photographed by Hideo Yamamoto, which was very interesting, and the score of Douban is still as high as 8.3 points.
There are also some films with long shots that, although not one-shot to the end, are also outrageously long. For example, Chinese director Bi Gan is also a fan of long shots, "Roadside Picnic" has a long shot of 42 minutes, and to "The Last Night of the Earth" has a shot of up to 70 minutes.
So, which other films were shot on long shots? Add up!