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Been wanting to do another one of these blocking and staging breakdowns for weeks now. Here's a shot that I've always marveled at this shot from Steven Spielberg's HOOK. With blocking, staging and camera movement Spielberg manages to combine 11 compositions or what I'll call here "Shots" into one... show more
86,031 просмотров • 1 год назад •via X (Twitter)
Комментарии: 11
I freaking loved Hook as a kid growing up. This part of the movie is so visceral. And this shot... a different director would have inserts for all of it, but Spielberg's ability to keep you in the moment with one shot is pure cinema.
It's so good! That movie proved to me that rotten tomatoes is a failed system, because it's objectively a great/iconic movie.
Production designed for the shot, too. The window crack the camera films through is a near solid rectangle, to accommodate the anamorphic frame. The foreground dimpled glass allows for halated backlit bokeh, isolating Peter as you say, & underlining the scenes fairytale turn.
Continue to do more!!! Which other directors as wel!!! 🔥🔥
Thanks! Will do
The worst thing? Spielberg said he doesn't start a days shooting with a list. He just comes up with these compositions on the day, trusting his instinct. The man knows how to draw the eye with movement and say so much without any words.
It's truly depressing how intuitive this is for him
Spielberg is a maestro of blocking. And the camera man is dancing with the actors.
Agreed
At the DGA tribute to Spielberg, James Cameron called these shots “developing masters.”
I prefer that to "oners". To me these aren't really oners since they don't cover an entire scene.
![Edgar Wright on his favourite shot in 'Black Narcissus' (1947): "I think 'Black Narcissus' (1947) is one of the greatest colour movies of all time. There is one particular shot towards the end of the film with Kathleen Byron, which, in my head, that is probably minutes of film, when in reality the shot is only on screen for less than two seconds And it's a shot of Kathleen Byron coming through a doorway, and it's part of an incredible climax, which I won't spoil if you've never seen the film. But it's one of those shots in Cinema that is ingrained on my brain. Like a lot of Powell and Pressburger films, I think it's just [has] a picturesque quality to it which is just somehow difficult to pinpoint exactly what the magic of Powell and Pressburger together is. But I think the thing is sometime these are the films that you keep returning to, is you can't kind of define exactly what it is about the film that keeps you obsessed, you just keep coming back. And this is one of those movies." ('Edgar Wright’s Closet Picks', Criterion, 2025)](https://image.24vids.com/tw-1988719199099801874/amplify_video_thumb/1988649870090182656/img/Nye0M3EiFpOR43d7.jpg)
![Michelangelo Antonioni on the Final sequence of 'The Passenger' (1975): "Interviewer: How long did it take to do the final scene of The Passenger? Antonioni: 11 days. But that was not because of me but because of the wind. It was very windy weather and so difficult to keep the camera steady. Interviewer: One critic has said that the final seven-minute sequence is destined to become a classic of film history. Can you explain how you conceived it? Antonioni: I had the idea for the final sequence as soon as I started shooting. I knew, naturally, that my protagonist must die, but the idea of seeing him die bored me. So I thought of a window and what was outside, the afternoon sun. For a second, just for a fraction-Hemingway crossed my mind: "De@th in the Afternoon." And the arena. We found the arena and immediately realized this was the place. But I didn't yet know how to realize such a long shot. I had heard about the Canadian camera, but I had no first-hand knowledge of its possibilities. In London, I saw some film tests. I met with the English technicians responsible for the camera and we decided to try. There were many problems to solve. The biggest was that the camera was 16mm and I needed 35mm. To modify it would have involved modifying its whole equilibrium since the camera IS mounted on a series of gyroscopes. However. I succeeded in doing it. Interviewer: Did you use a zoom lens or a very slow dolly? Antonioni: A zoom was mounted on the camera. But it was only used when the camera was about to pass through the gate. Interviewer: It's interesting how the camera moves toward the man in the center against the wall but we never get to see him, the camera never focuses on him. Antonioni: Well, he is part of the landscape, that's all. And everything is in focus-everything. But not specifically on him. I didn't want to go closer to anybody. The surprise is the use of this long shot. You see the girl out side and you see her movements and you understand very well without going closer to her what she's doing, maybe what her thoughts are. You see, I am using this very long shot like closeups, the shot actually takes the place of closeups. Interviewer: Did you cover that shot in any other way or was this your sole commitment? Antonioni: I had this idea of doing it in one take at the beginning of the shooting and I kept working on it all during the shooting." [Filmmakers Newsletter, I975]](https://image.24vids.com/tw-1865861156901986585/ext_tw_video_thumb/1865773675519102976/pu/img/nTl0huOsKO3WwKVu.jpg)