I Met Your Mother is a popular sitcom that has been running 9 years, teasing its audience the whole long way with the riddle of the identity of THE MOTHER. But with its recent finale and the mystery resolved, the reaction was mixed. Did Ted end up with who he was meant to all along? Or did the creators pull a fast one, and produce an ending that was unearned? With TV audiences notoriously fickle, TV producers must consider a responsibility to the fans, and balance that with making the show they want. So was the ending of HIMYM a success or failure?
Cinefix picks their top 12 Best Long Takes in the history of film.
The Protector – Restaurant Fight Scene
Director: Prachya Pinkaew
Synopsis: A young fighter named Kham must go to Australia to retrieve his stolen elephant. With the help of a Thai-born Australian detective, Kham must take on all comers, including a gang led by an evil woman and her two deadly bodyguards.
Running time: 4 minutes
The Mirror – Burning Barn Scene
Director: Andrei Tarkovsky
Synopsis: A dying man in his forties remembers his past. His childhood, his mother, the war, personal moments and things that tell of the recent history of all the Russian nation.
Running time: Roughly 1 minute
Atonement – The Beach Sequence
Director: Joe Wright
Synopsis: Fledgling writer Briony Tallis, as a 13-year-old, irrevocably changes the course of several lives when she accuses her older sister’s lover of a crime he did not commit. Based on the British romance novel by Ian McEwan.
Running Time: 5 1/2 minutes
Weekend – Traffic Jam Scene
Director: Jean-Luc Godard
Synopsis:A supposedly idyllic weekend trip to the countryside turns into a never-ending nightmare of traffic jams, revolution, cannibalism and murder as French bourgeois society starts to collapse under the weight of its own consumer preoccupations
Running time: 7 Minutes
Hard Boiled – Hospital Shootout
Synopsis: A tough-as-nails cop teams up with an undercover agent to shut down a sinister mobster and his crew.
Running Time: 2 minutes, 40 seconds
The Player – Opening Shot
Director: Robert Altman
Synopsis: A Hollywood studio executive is being sent death threats by a writer whose script he rejected – but which one?
Running Time: 7 minutes, 47 seconds
Touch of Evil – Bomb Sequence
Director: Orson Welles
Synopsis: A stark, perverse story of murder, kidnapping, and police corruption in a Mexican border town.
Running Time: 3 1/2 minutes
Boogie Nights – Little Bill Sequence
Director: Paul Thomas Anderson
Synopsis: The story of a young man’s adventures in the Californian pornography industry of the late 1970s and early 1980s.
Running Time: 3 minutes
Gravity – Opening Shot
Director: Alfonso Cuarón
Synopsis: A medical engineer and an astronaut work together to survive after a catastrophe destroys their shuttle and leaves them adrift in orbit.
Running Time: 12 1/2 minutes
Goodfellas – Copacabana Lounge
Director: Martin Scorsese
Synopsis: Henry Hill and his friends work their way up through the mob hierarchy.
Running Time: 3 minutes, 13 seconds
Snake Eyes – Boxing Match
Director: Brian De Palma
Synopsis: A shady police detective finds himself in the middle of a murder conspiracy at an important boxing match in an Atlantic City casino.
Running Time: 12 minutes
Children of Men – Car Scene
Director: Alfonso Cuarón
Synopsis: In 2027, in a chaotic world in which women have become somehow infertile, a former activist agrees to help transport a miraculously pregnant woman to a sanctuary at sea.
Running Time: 4 minutes
Makeup FX legend Steve Johnson (GHOSTBUSTERS, SPECIES, BLADE 2) sits down with Matt Winston of the Stan Winston School of Character Arts to discuss his nightmare stint as Boss Films’ Creature FX supervisor on the first ill-fated PREDATOR suit, worn by Belgian martial artist and aspiring action star, Jean-Claude Van Damme.
Elliot from Reel Deel Film School explains what you need to film abroad. When filming in another country, it’s incredibly important to make sure you have the correct paperwork before you record anything…
A full write up:
The very first lesson I was taught on Day 1 as a Camera Assistant was to never assume anything! EVER! And when it comes to Filming Permits the same rule applies.
As Brits we say “It’s better to be safe than sorry” (with a cynically patronising smile) – You American’s have a more coloUrful and memorable approach with “COVER YOUR ASS!”… but the sentiment is the same.
Filming Permits not only protect onscreen talent/contributors and property owners but the Film Production as well, and without the correct Release Forms a project will not secure distribution.
Verbal contracts are NOT enough. You need it in black and white on the page in an irrevocable Release Form, signed and dated by the individual releasing their image or granting the right to film on their property.