Birdman and the Mastery of the Extended Shot

We take a look at the work of cinematographer Emmanuel Lubezki and the art of the long take for his recent project, Birdman.

Prepare to be amazed by the masterful long shots of Academy Award-winning Cinematographer Emmanuel Lubezki. From the breathtaking car sequence in Children of Men to the mesmerizing space debris sequence in Gravity, Lubezki has pushed the boundaries of what can be achieved with a continuous shot. In 2014, he worked his magic as the cinematographer for the award-winning film, directed by Alejandro González Iñárritu, Birdman. This film is a true masterpiece that may just earn Lubezki another Oscar.

Birdman: Creating a Continuous World

Birdman takes the concept of the long take to a whole new level, making the entire film appear as if it was shot in one seamless shot. This incredible feat was achieved by filming long sequences and carefully finding the perfect moments to transition without disrupting the flow. Check out this captivating featurette that delves into the process of creating such a world, including the intricate planning of camera movements, lighting, framing, and countless other details.

Now, feast your eyes on a short clip from the film that showcases the dynamic camera movement and shifting points of view. It seamlessly transitions from a third-person perspective to Michael Keaton’s character and back again, demonstrating the meticulous craftsmanship of Lubezki and director Alejandro González Iñárritu in every single long take.

Art of the Long Take

Long takes have been a powerful storytelling tool since the early days of cinema. Alfred Hitchcock was one of the pioneers of this technique, as early as 1948. Fast forward to today, and Alejandro González Iñárritu, along with Emmanuel Lubezki, are carrying on this tradition. But they are not alone in their mastery of the long shot. Here are a few other examples of classic long takes throughout film history that will leave you in awe…

Hitchcock’s Rope

In Alfred Hitchcock’s 1948 film Rope, the entire movie consists of only 11 shots, with 10 of them lasting a minimum of 9 minutes each. This experimental film pushed the boundaries of editing, meticulously planned to create the illusion of a continuous shot.

Take a look at this clip from the opening of the film:

One Long Russian Ark

While Hitchcock aimed to eliminate cuts in his films, he never fully achieved it. However, Russian director Aleksandr Sokurov accomplished this feat with his 2002 film Russian Ark. The entire movie was shot in one continuous take, lasting a staggering 96 minutes, inside St. Petersburg’s Hermitage Museum. After two failed attempts, the final take was a success. This groundbreaking film was even nominated for the prestigious Palme d’Or at the Cannes Film Festival.

Here are the final 3 minutes of the film:

Goodfellas and the Steady Steadicam

Martin Scorsese is no stranger to utilizing the long shot in his films, but one particular scene from Goodfellas stands out as a masterpiece of cinematography.

The Mastery of Steven Spielberg

Steven Spielberg is another director who has embraced the power of the long shot in many of his films, including classics like Jaws and Minority Report. There are too many examples to list, but luckily, Tony Zhou has compiled them for us in this fascinating video:

Gravity: Space Debris Sequence

In the film Gravity, Alfonso Cuaron and Emmanuel Lubezki used only 156 shots throughout the entire movie, with an average shot length of 45 seconds. The opening scene, known as the ‘Space Debris Sequence’, is one of the most intense and visually stunning openings in film history:

Children of Men Car Sequence

In another collaboration between Alfonso Cuaron and Emmanuel Lubezki, they created an intense car sequence in Children of Men that allowed the camera to fluidly move around the interior of the car. This required precise timing, as several visual effects shots had to be seamlessly integrated into the long take.

Here is the full scene from the Single Shot Film Festival:

This featurette by Eduardo Angel gives a behind-the-scenes look at how they pulled off this incredible shot:

My First Long Take Experience

Years ago, I had the opportunity to work as the second camera on a video art piece. The short film was shot using three cameras, following three subjects who would all appear on the screen simultaneously. During the editing process, the frame was divided into thirds, with each panel showcasing an uninterrupted shot until the end of the film when all three characters came together and Camera A expanded to fill the entire frame.

It was an incredible experience that taught me the importance of rehearsal in crafting a successful long shot. It also showed me the immense power of the long take as a narrative tool, immersing the audience in the character’s world. This is something that Emmanuel Lubezki has mastered over the course of his remarkable career.