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ThinkStock

13 Incredible Unbroken Takes in Movies

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ThinkStock

Long shots are harder to film than short cuts, but the end results can be spectacular (or unnoticable, depending on the filmmaker). Here are 13 memorable long and unbroken single takes.

1. Goodfellas (3:04)

This long steadicam shot through the back door and kitchen of the Copacabana in Goodfellas isn't just a cool-looking scene—it amounts to one of the film's most powerful metaphors. Clocking in at just over three minutes long, we watch the benefits of organized crime through the eyes of Karen, an outsider and girlfriend of Henry Hill. The mob lifestyle literally opens doors, and as Karen becomes increasingly impressed with Henry’s power and social stature, so does the viewer.

The shot took seven takes to complete, and Scorsese feared it would bore the audience.

2. Russian Ark (96 minutes)

One of the most ambitious projects ever made, Russian Ark is a 96-minute film that is made with one single shot—no cuts or edits. The film is set in 19th century Russia and takes place in 33 rooms in the Winter Palace in Saint Petersburg with a cast of more than 2000 actors. It took director Alexander Sokurov only three attempts to complete Russian Ark in a single take.

3. Boogie Nights (2:54)

Paul Thomas Anderson is a modern master of filmmaking, and his sophomore effort Boogie Nights features one of the best opening shots of the '90s. Smashing in with infectious disco music and a marquee of the film’s title, the sequence introduces Boogie Nights’ core cast in one three-minute shot.

4. Atonement (5:08)

Cin - Atonement from Matthew Parillo on Vimeo.

Joe Wright's Atonement features stunning photography, and this is most evident in an amazing single shot that lasts for more than five minutes. The scene is featured towards the latter half of the film when Robbie Turner, played by James McAvoy, finds himself on a French beach at the end of the Battle of Dunkirk.

Because of financial limitations, Wright and his cinematographer, Seamus McGarvey, were forced to come up with a creative solution when the production budget wouldn’t allow for the scene to feature thousands of extras playing British soldiers. Instead, they conceived a steadicam shot that would capture the horrors of war and a soldier’s panic in a sea of well-choreographed chaos.

5. Panic Room (2:28)

Though director David Fincher started using the virtual camera on 1999's FIght Club, his 2002 thriller Panic Room solidified his love for the filmmaking technique. Although the almost two-and-a-half minute unbroken shot that flies through banisters, a keyhole, and a coffee mug handle may seem like the director is showing off what he can do with his new toy, Fincher actually uses the camera to fully establish the New York townhouse’s geography and where everyone is inside before the home invasion.

6. I Am Cuba (Soy Cuba) (1:29 and 2:34)

In 1964, director Mikhail Kalatozov made I Am Cuba (Soy Cuba). It brims with style and two of the most elaborate and awe-inspiring single shots in cinematic history. Kalatozov’s camera weaves seamlessly through the streets of Havana during a funeral procession. The first shot begins at street level, while the second gives a bird’s eye view of the streets and people below.

7. The Protector (Tom-Yum-Goong) (3:47)

Thai martial arts film The Protector (Tom-Yum-Goong) brought action star Tony Jaa to the American mainstream. When the film opened in the United States in 2005, it was the first Thai film to ever break into the top 5 at the box office during its opening weekend. With dynamic and elaborate action and stunt choreography, you can easily see why The Protector was so popular. One of the most notable action sequences involves a long, unbroken shot that took one month to develop and stage, and five takes to get right. The end result is a breathtaking piece of action filmmaking.

8. Touch of Evil (3:31)

The gripping opening scene from Orson Welles’ Touch of Evil is one of the director's most intricate and complicated shots. It begins with a time bomb placed inside of a car trunk and lasts for three and a half minutes as the car drives through a busy border city, its occupants unaware of the disaster about to occur.

9. Rope (10:06)

Alfred Hitchcock wanted Rope to play out in real time much like the stage play that it was based on. To pull off this impressive feat, Hitchcock had to shoot Rope in a series of long and extended takes and cut it in such a way that it would appear seamless. The film consists of ten segments, with the longest take clocking in at a little over 10 minutes.

10. Hard Boiled (2:49)

Hong Kong action film Hard Boiled was John Woo’s calling card for American studios to take note of his work. Although the film was made in 1992, Hard Boiled still showcases some of the best action sequences in modern cinema history—notably, this unbroken and uninterrupted shoot-out that lasts for almost three straight minutes.

During Inspector Tequila and Tony’s raid in a hospital, the pair takes a break to re-load in an elevator, while inside John Woo’s production team frantically re-dressed the demolished corridors to make it look like a different floor before the action starts up again.

11. Paths of Glory (1:39)

Stanley Kubrick’s Paths of Glory shows off the director’s use of beautiful black and white photography while capturing the horrors of war. Although some of the movie takes place in trenches during WWI, Kubrick manages to make the small space feel dynamic and engaging with a series of long tracking shots.

12. The Player (8:08)

Opening scene from The Player (1992) from Single Shot Film Festival on Vimeo.

Director Robert Altman’s comeback film The Player features an 8-minute unbroken take showcasing the film’s post-modern tone. In the opening scene, Altman’s actors ad-lib a majority of their dialogue, including references to Touch of Evil’s unbroken tracking shot, Alfred Hitchcock’s Rope, and the fictional sequel to The Graduate.

13. Children of Men (3:57)

This film about a dystopian future features a number of long and unbroken scenes, but the most memorable is the car attack sequence. It runs about four minutes long and features playful and flirty banter between Theo and Julian, played by Clive Owen and Julianne Moore, which quickly turns into mayhem and panic when an armed gang attacks the car from all directions. Cuarón’s production built a special rig around the car so a camera could swivel and capture the action from every angle. The end result is one of the more thrilling and intense moments in the film. You can watch it here.

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Shout! Factory
10 Surprising Facts About Mr. Mom
Shout! Factory
Shout! Factory

John Hughes penned the script for 1983's Mr. Mom, a comedy about a family man named Jack Butler (Micheal Keaton) who loses his job. To ensure their three kids are taken care of, his wife, Caroline (Teri Garr), goes back to work—leaving Jack to fight off a vacuum cleaner and learn why it's never a good idea to feed chili to a baby.

In 1982, Keaton turned in a star-making role in Ron Howard’s Night Shift, but Mr. Mom marked the first time he headlined a movie, and it launched his career. Hughes had written National Lampoon's Vacation, which—oddly enough—was released in theaters the weekend after Mr. Mom. But Hughes himself was still a relative unknown, as it would be another year before he entered the teen flick phase of his career, which would make him iconic.

In the meantime, Mr. Mom hit home for a lot of viewers, as the economy was on the downturn and more and more women were entering (or reentering) the workforce. But some people think that the movie's ending—which sees the couple revert to traditional gender roles—sidelined the movie's message. Still, on the 35th anniversary of its release, Mr. Mom remains an ahead-of-its-time comedy classic.

1. IT'S BASED ON A TRUE STORY.

Mr. Mom producer Lauren Shuler Donner came across a funny article John Hughes had written for National Lampoon. Based on that, she contacted him and the two became friends. “One day, he was telling me that his wife had gone down to Arizona and he was in charge of the two boys and he didn’t know what he was doing,” Donner told IGN. “It was hilarious! I was on the floor laughing. He said, ‘Do you think this would make a good movie?’ And I said, ‘Yeah, this is really funny.’ So he said, ‘Well, I have about 80 pages in a drawer. Would you look at it?’ So I looked at it and I said, ‘This is great! Let’s do it!’ We kind of developed it ourselves.” In the book Movie Moguls Speak, Donner mentioned how Hughes “had never been to a grocery store, he had never operated a vacuum cleaner. John was so ignorant, that in his ignorance, he was hilarious.”

The players involved with the movie told Donner and Hughes they thought it should be a TV movie. Hughes had a TV deal with Aaron Spelling, who came aboard to executive produce. “Then the players involved were upset because John was writing out of Chicago instead of L.A.,” Donner said in Movie Moguls Speak. “They fired John and brought in a group of TV writers. In the end, John and I were muscled out. It was a good movie, but if you ever read John’s original script for Mr. Mom, it’s far better.”

2. JOHN HUGHES REJECTED THE IDEA OF DIRECTING MR. MOM.

Stan Dragoti ended up directing the film, but only after Hughes turned it down, because he preferred to make his movies in Chicago, not Hollywood. “I don’t like being around the people in the movie business,” Hughes told Roger Ebert. “In Hollywood, you spend all of your time having lunch and making deals. Everybody is trying to shoot you down. I like to get my actors out here where we can make our movies in privacy.” Hughes remained in Chicago and filmed his directorial debut, Sixteen Candles, there.

3. MICHAEL KEATON GOT THE ROLE BECAUSE OF NIGHT SHIFT.

In 1982’s Night Shift, Keaton’s character works at a morgue and starts a prostitution ring with co-worker Henry Winkler. Donner had an agent friend, Laurie Perlman, who represented the not-yet-famous actor. She contacted Donner and pitched Keaton to her. “’Look, I represent this guy who is really funny. Would you meet with him?’" Donner recalled of the conversation. "So I met with him. Usually I don’t like to do this unless we’re casting, but I met with him because she was my friend. And then she said, ‘You have to see this movie Night Shift that he’s in.’ So I went to see Night Shift, and midway through I couldn’t wait to get out of that theater to give Mr. Mom to Michael Keaton. Fortunately, he liked it."

Keaton told Grantland that he turned down one of the main roles in Splash to play Jack Butler. “I just remember at the time thinking I wanted to get away from what I’d just done on Night Shift,” he said. “I thought if I do it again, I might get myself stuck. So then Mr. Mom came along. So I said no [to Splash] so I could set up this framework right away where I could do different things.”

4. THE FILM BROKE NEW GROUND.

Teri Garr, Michael Keaton, Taliesin Jaffe, Frederick Koehler, and Martin Mull in Mr. Mom (1983)
Shout! Factory

In 1983, more women stayed at home than worked, so it was a novelty for a man to be a stay-at-home dad. Today, an estimated 1.4 million men are stay-at-home dads, and 7 million men are their children's primary caregiver. “Mr. Mom became part of the vernacular,” Donner told Newsweek. “Mr. Mom represented a segment of men who were at home dealing with the kids who, up until then, really hadn’t been heard from. That’s what really told me about the power of film, because it spoke for a lot of men. It also helped women, because I think that women sometimes, if you’re a housewife, you’re not really appreciated for what you do. This sort of made women feel better about what they did because they knew that men were understanding it.”

5. TODAY, “MR. MOM” IS CONSIDERED A PEJORATIVE TERM.

More than 30 years after the film’s release, stay-at-home dads feel the term “Mr. Mom” should die. The National At-Home Dad Network launched a campaign to terminate the phrase and instead have people refer to men as “Dad.” In 2014 Lake Superior State University voted to banish “Mr. Mom” from the lexicon.

“At least, the pop-culture image of the inept dad who wouldn’t know a diaper genie from a garbage disposal has begun to fade,” wrote The Wall Street Journal, after declaring “Mr. Mom is dead.”

6. TERI GARR DIDN’T KNOW IT WAS A MESSAGE MOVIE.

The movie redefined gender roles, but when the producers pitched the premise to Garr, they hid the plot reversal. “They just told me it was about a guy who does the work that a woman does, because it’s so easy,” she told The A.V. Club. “And I went, ‘Oh, yeah. Ha ha.’ It’s so easy. All the women I know who stay home and take care of their kids, they go, ‘Oh yeah, this is easy.’ Hmm.”

7. MARTIN MULL IMPROVISED THE “220, 221” LINE.

The quote everyone remembers from the movie comes from Jack, holding a chainsaw, standing next to Ron Richardson (Martin Mull) and discussing what kind of wiring Jack will use in renovating the house: “220, 221, whatever it takes,” Jack says.

“We’re doing the scene and it was okay,” Keaton told Esquire. “And I remember saying to the prop guy, ‘Go find me a chainsaw.’ When he comes back with it, he says, ‘You wanna wear these?’ And he holds up some goggles. I go, ‘Yeah.’ You know, they make me look crazy. And when Martin shows up, I know I should look under control, I’m not sweating it. I’m a dude. So we’re standing there, Martin pulls me aside and says, ‘You know what you ought to say? When I ask about the wiring, you oughta just deadpan: ‘220, 221.’ I died. It was perfect. I may have added ‘whatever it takes.’ But it was his.”

“That was a little ad-lib that we just threw in, but every carpenter or construction person I’ve ever worked with, they’re always quoting that line from Mr. Mom,” Mull told The A.V. Club.

8. MR. MOM OUTGROSSED HUGHES’S OTHER 1983 SUMMER MOVIE—VACATION.

Mr. Mom only opened on 126 screens on July 22, 1983, but managed to gross $947,197 during its opening weekend. Once the film went wide a month later to 1235 screens, it hit number one at the box office and spent five weeks at the top. By the end of its run, the film had grossed just shy of $65 million, making it the ninth highest-grossing film of 1983 (just between Staying Alive and Risky Business). National Lampoon’s Vacation, Hughes’s other film that summer, came out July 29 and ended its theatrical run with $61,399,552 (at its height, it showed on 1248 screens). Vacation finished the year in 11th place.

9. THE MOVIE LED TO HUGHES BEING CALLED “A PURVEYOR OF HORNY SEX COMEDIES.”

During a 1986 interview with Seventeen magazine, Molly Ringwald asked the writer-director why he never showed teen sex in Sixteen Candles or The Breakfast Club. “In Sixteen Candles, I figured it would only be gratuitous to show Samantha and Jake in anything more than a kiss,” he said. “The kiss is the most beautiful moment. I was really amused when someone once called me a ‘purveyor of horny sex comedies.’ He listed The Breakfast Club and Mr. Mom in parentheses. I thought, ‘What kind of sex?’ Yes, in Mr. Mom there’s a baby in a bathtub and you see its bare butt.”

10. MR. MOM WAS MADE INTO A TV MOVIE AFTER ALL.

In the beginning, producers wanted Mr. Mom to be a TV movie, not a feature film. But a year after the film came out in theaters, ABC produced a TV movie called Mr. Mom, with the same characters and premise. Barry Van Dyke played Jack and Rebecca York played Caroline. A People magazine review of the movie stated: “They and their three kids are immediately likable … But it goes downhill from there as the script lobotomizes all its characters. Here’s a textbook case in how TV takes a cute idea—and a script that does have some good lines—and leeches the wit out of it.”

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Central Press/Getty Images
Ernest Hemingway’s Guide to Life, In 20 Quotes
Central Press/Getty Images
Central Press/Getty Images

Though he made his living as a writer, Ernest Hemingway was just as famous for his lust for adventure. Whether he was running with the bulls in Pamplona, fishing for marlin in Bimini, throwing back rum cocktails in Havana, or hanging out with his six-toed cats in Key West, the Nobel and Pulitzer Prize-winning author never did anything halfway. And he used his adventures as fodder for the unparalleled collection of novels, short stories, and nonfiction books he left behind, The Sun Also Rises, A Farewell to Arms, Death in the Afternoon, For Whom the Bell Tolls, and The Old Man and the Sea among them.

On what would be his 119th birthday—he was born in Oak Park, Illinois on July 21, 1899—here are 20 memorable quotes that offer a keen perspective into Hemingway’s way of life.

ON THE IMPORTANCE OF LISTENING

"I like to listen. I have learned a great deal from listening carefully. Most people never listen."

ON TRUST

"The best way to find out if you can trust somebody is to trust them."

ON DECIDING WHAT TO WRITE ABOUT

"I never had to choose a subject—my subject rather chose me."

ON TRAVEL

"Never go on trips with anyone you do not love."


Ernest Hemingway Photograph Collection, John F. Kennedy Presidential Library and Museum, Boston. [1], Public Domain, Wikimedia Commons

ON THE RELATIONSHIP BETWEEN INTELLIGENCE AND HAPPINESS

"Happiness in intelligent people is the rarest thing I know."

ON TRUTH

"There's no one thing that is true. They're all true."

ON THE DOWNSIDE OF PEOPLE

"The only thing that could spoil a day was people. People were always the limiters of happiness, except for the very few that were as good as spring itself."

ON SUFFERING FOR YOUR ART

"There is nothing to writing. All you do is sit down at a typewriter and bleed."

ON TAKING ACTION

"Never mistake motion for action."

ON GETTING WORDS OUT

"I wake up in the morning and my mind starts making sentences, and I have to get rid of them fast—talk them or write them down."


Photograph by Mary Hemingway, in the Ernest Hemingway Photograph Collection, John F. Kennedy Presidential Library and Museum, Boston., Public Domain, Wikimedia Commons

ON THE BENEFITS OF SLEEP

"I love sleep. My life has the tendency to fall apart when I'm awake, you know?"

ON FINDING STRENGTH 

"The world breaks everyone, and afterward, some are strong at the broken places."

ON THE TRUE NATURE OF WICKEDNESS

"All things truly wicked start from innocence."

ON WRITING WHAT YOU KNOW

"If a writer knows enough about what he is writing about, he may omit things that he knows. The dignity of movement of an iceberg is due to only one ninth of it being above water."

ON THE DEFINITION OF COURAGE

"Courage is grace under pressure."

ON THE PAINFULNESS OF BEING FUNNY

"A man's got to take a lot of punishment to write a really funny book."


By Ernest Hemingway Photograph Collection, John F. Kennedy Presidential Library and Museum, Boston. - JFK Library, Public Domain, Wikimedia Commons

ON KEEPING PROMISES

"Always do sober what you said you'd do drunk. That will teach you to keep your mouth shut."

ON GOOD VS. EVIL

"About morals, I know only that what is moral is what you feel good after and what is immoral is what you feel bad after."

ON REACHING FOR THE UNATTAINABLE

"For a true writer, each book should be a new beginning where he tries again for something that is beyond attainment. He should always try for something that has never been done or that others have tried and failed. Then sometimes, with great luck, he will succeed."

ON HAPPY ENDINGS

"There is no lonelier man in death, except the suicide, than that man who has lived many years with a good wife and then outlived her. If two people love each other there can be no happy end to it."

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